Ceramic objects with rich and highly viscous glazes.
Ceramic glaze serves a variety of purposes. It serves a purely practical function as a protective layer that makes a ceramic cup pleasant to drink from, renders plates hygienic and enables jugs to hold water. Additionally, glaze can be used as ornamentation to decorate ceramic objects. But glaze also holds form-giving properties. With their rich and highly viscous glazes, the works that make up Shaping Fluid explore the form-giving properties of ceramic glaze.
A crucial element in the creative process is the firing. With its unpredictable results, the firing acts as a sort of drafting process where the kiln, the firing tools, the ceramics, the temperature and the melting point of the glaze serve as drafting tools, revealing new and unpredictable possibilities in a process similar to the way that new ideas emerge when one sits down with a pencil and a sketch pad.
Christina Schou Christensen b.1973, ceramist
Christina Schou Christensen generally views her works as experiments. She explores a field that is hard to control, and where the outcome is difficult, if not impossible, to predict. Christina sets certain parameters for the unfolding of the materials, but the process and the interaction among the materials are crucial for the outcome. Among the key factors are the temperature of the kiln, the size of holes, the firing tools and the melting point of the glaze.
Each kiln firing is an experiment that adds to Christina Schou Christensen’s understanding of the process that occurs when a particular glaze is poured into a ceramic container and fired in a kiln at a particular temperature.
The material experiments are Christina Schou Christensen’s source of inspiration. She tests assumptions, and the outcome from the kiln tells her what direction to pursue next. Christina aims to remain as receptive as possible to what her experiments have to tell her. The result may seem chaotic at first glance, but instead of rejecting the result she looks for potential new directions, and additional firings may provide the basis for new expressions and techniques.
2011: The Royal Danish Academy of Fine Arts – The School of Design, Bornholm
2013: Solo Award Show, Spring Exhibition, Charlottenborg, Copenhagen
2012: “Collect”, with Galerie Sofie Lachaert, Saatchi Gallery, London
2011: The Biennale for Crafts and Design 2011, Museet på Koldinghus, Denmark
Grants and honours
2013: Annie & Otto Johs. Detlefs’ Keramikpris, travel grant
2012: Solo Award, Spring Exhibition Charlottenborg, Copenhagen
2012: Grant from Otto Bruuns Foundation
2012: Grant from Danish Crafts
2012: Grant from the Danish Arts Foundation
2012+11: Grant from Danmarks Nationalbank’s Anniversary Foundation
2012: Groth Collection
2011: Danish Arts Foundation