A demonstration of the potentials of the ceramic material. A jumble of branches growing wild, which are controlled when they are cut into cubes, as a sharp section slices through the softly modelled shapes.
Macro Cubes is a ceramic material demonstration. The work consists of three large glazed cubes, carved from a larger branched-out network made in clay. ‘Macro Cubes’ is a result of Bente Skjøttgaard’s work with modelled branch shapes, which she describes as “basically just coarsely pressed rolls of clay that are balanced in between and on top of each other”. In her work with the branch shapes Bente Skjøttgaard sees clay and glaze really ‘come together’.
The latest branch sections have been cut down to cubes. The idea with these cubes is to make a sharp incision through the soft modelled shapes, which results in new surfaces and dimensions and sharp edges from which the glaze will drip. The simple geometric incision strikes a contrast to the organic branch structure. The organic elements, which have no distinct shape, and which might conceivably continue endlessly, are bisected by straight lines. Thus, the work is no longer a segment of figurative nature but becomes a graphic pattern – a segment of culture.
Bente Skjøttgaard’s works have been acquired for the collections at the ‘Victoria and Albert Museum’ in London and at ‘Musée National de Céramique’ in Sévre, France. Her ceramic works have previously been represented at ‘KIAF 2010’ (Korea International Art Fair) in Seoul, ‘Galerie Maria Lund’ in Paris (2010), ‘The Invitational World Contemporary Ceramics Exhibition’ in Korea (2009) and ‘Galleri Nørby’ in Copenhagen (2000 + 2005).
Over the years Bente Skjøttgaard has been the recipient of several grants and honours, including Annie and Otto Johs. Detlef’s ceramics award in 2005 and the Danish Arts Foundation’s three-year working grant in 2001-2003.The core of Bente Skjøttgaard’s work is the ceramic material, the matter – clay and glaze.
She works with liquid stone ware glazes and takes a particular interest in the tendency of the glazes to take on widely varying appearances depending on their thickness.
Bente Skjøttgaard’s idiom often springs from nature’s own form principles and regularities, which causes her works to appear as strange, at times inscrutable sculptural growths or fragments of nature. She models relatively quickly and allows traces of the working process to remain visible. This causes the glaze to settle unevenly on the slightly irregular surface.
b. 1961, ceramist. Graduated from the Kolding School of Design in 1986.