In this dinnerware, the focus is on the rims, which take on a varied expression by means of varying forms of impacts on the material during the form process.
Dinnerwarevision 5 is a dinner set consisting of plates and bowls in various sizes and shades of colour made in porcelain and stoneware.
The set is visually varied, and the intended use is left open. In connection with ‘Dinnerwarevision 5’ Anne Tophøj has experimented with a variety of ceramic production methods that do not offer the artist full control over the process, or which feature openings that allow random influences to take over. For example, she has experimented with the use of forces that cannot be completely controlled: gravity, centrifugal forces, etc. A process is initiated that runs its course, and the chips will fall as they may. There are a number of ways to allow the element of chance to affect the final expression; in this project Anne Tophøj has sought to avoid a human imprint to create a set that appears as the result of materials, tools and process.
Anne Tophøj’s ceramics has been featured in several exhibitions in recent years, including ‘Across’ at Carlsberg, Copenhagen (2010) and ‘Statistics Ceramics’, which was presented both in Hamburg and in Gothenburg (2008). In addition, Nationalmuseum in Stockholm, the Danish Museum of Art & Design in Copenhagen and Trapholt in Kolding have acquired items by Anne Tophøj for their collections.
The Danish Arts Foundation awarded Anne Tophøj a three-year working grant in 2004-2007 and additional working grants in 2010.
Anne Tophøj’s work revolves around usage and function, materials and techniques, and form and idiom aspects. Her work takes an investigative and experimenting approach – by constantly altering her method and her perspective she explores the full range of potential forms and expressions. Anne Tophøj focuses on the stage before a form has been determined, when possibilities have been identified and revealed, and everything is still wide open.
In recent years, Anne Tophøj has worked with a ‘loose’ form approach that leaves room for random and incomplete elements. This form approach and idiom are associated with her interest in the aesthetics of production and method and in design based on the potential that a material, a tool or a technique has to offer.
b. 1960, ceramic designer. Trained as a ceramist at the Danish School of Art and Design (now The Danish Design School) in Copenhagen and graduated as a Master of Industrial Design from Pratt Institute in New York.