{"id":28805,"date":"2017-06-26T11:39:59","date_gmt":"2017-06-26T11:39:59","guid":{"rendered":"http:\/\/www.aic-iac.org\/?page_id=28805"},"modified":"2024-08-13T13:31:15","modified_gmt":"2024-08-13T13:31:15","slug":"prix-et-recompenses","status":"publish","type":"page","link":"https:\/\/dev2024.aic-iac.org\/en\/membres\/prix-et-recompenses\/","title":{"rendered":"Prizes and Awards","raw":"Prizes and Awards"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
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The IAC decided to create a new webpage focused on prizes and awards won by our members in the context of prestigious international competitions, starting in 2017.<\/p>\n

This is yet another way to promote contemporary ceramics and contribute to making IAC artists more visible.<\/p>\n<\/td>\n

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This new webpage will be notably devoted to those distinctions obtained in the context of competitions from partnering institutions of the IAC, such as KOCEF, Mino, Seto, Yingge, Vallauris, etc.<\/p>\n

Please send your notice to the IAC Office (office@aic-iac.org) which will take care of the publication.<\/p>\n<\/td>\n<\/tr>\n

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Prizes and Awards 2024<\/h3>\n<\/td>\n<\/tr>\n

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The 13th International Ceramics Competition Mino, Japan<\/h3>\n<\/td>\n<\/tr>\n

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“The Kiln” (2021), clay, glaze, fragments of an electric kiln. Hand-building, 1280\u00b0C.<\/p><\/div>\n<\/td>\n<\/tr>\n

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Ielizaveta PORTNOVA – Grand Prix<\/h3>\n

Member page<\/span><\/a><\/p>\n

“This work is from my abstract zoomorphic series, which I started in 2018. In the works of this series I use both my previously made objects and objects of other authors. Sometimes I work from scraps of old works or from pieces of sculptures made specifically for the project<\/p>\n

In the work \u201cKiln\u201d I used the fragments of my kiln. We made this kiln in 2002. Once, one piece exploded during firing and damaged the kiln. By this time, the kiln had completed more than 500 firings. Fragments of a kiln and heating elements were inlaid into this work.<\/p>\n<\/td>\n

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The original object has its own character and energy. I use this data to develop the source material into the final image. My task is to visualize the history of transformation of the original object into an abstract zoomorphic figure.” (Ielizaveta Portnova)<\/p>\n

— Now I feel like this beast assembled from the fragments of the past. The past is valuable but painful. War deprives us of our human appearance. —<\/em><\/p>\n<\/td>\n<\/tr>\n

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2024 Taiwan Ceramics Biennale<\/h3>\n<\/td>\n<\/tr>\n

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“Loop #12” by Jing HUANG (USA\/China, IAC member since 2023)<\/p><\/div>\n<\/td>\n<\/tr>\n

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Jing HUANG – Silver Award<\/h3>\n

Membre page<\/a><\/span><\/p>\n

\u2018Loop\u2019 is a series of works that indicate no beginning or end, but places an emphasis on the winding path itself. Amid the dislocation and ambiguity of being neither here nor there, I anchor myself by tracing my past and taking inspiration from the early memory of my hometown (Guilin)\u2019s landscape after a long departure. \u2018Loop\u2019 is not only a representation of the actual landscape; it mirrors the feelings of respect and appreciation for my past, culture and tradition. It\u2019s a process of seeking a deeper understanding of my identity and experience in the world.<\/p>\n<\/td>\n

Its Chinese title, ‘\u56de,’ has several meanings in Chinese: to circle, to step back, to turn around, to return. This unique pictographic character not only represents the form of the work but also symbolizes the return to the process itself, celebrating my identity, past, and culture. (Jing HUANG)<\/td>\n<\/tr>\n
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5th Officine Saffi Award<\/h3>\n<\/td>\n<\/tr>\n

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\u201cThe Twilight Landscape\u201d (2023) by Hanna Miadzvedzeva (Belarus, IAC member since 2021)<\/p><\/div>\n<\/td>\n<\/tr>\n

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Hanna Miadzvedzeva – Residency Prize Gaya Ceramic Arts Center<\/h3>\n

Member page<\/a><\/span><\/p>\n

This work is part of a larger series of works called “Landscapes” that I’ve been doing for the last couple of years. In the series, I portray my feelings about the places I visit – new cities and regions, natural places. I especially like observing new landscapes from a bird’s eye view, flying over them with an airplane, when forests and fields alternate with each other to create a unique textural pattern. Also a very important aspect of my perception of the surrounding area is light and the nature of its dispersion in space. Twilight is a very specific state, when in a fairly short period of time there is a transcendental transition from bright day to completely dark night.<\/p>\n<\/td>\n

I heard that this period of the evening is considered the most dangerous for drivers because of the so-called “twilight blindness”. Everything around us seems to be wrapped in a gray velvet – on the one hand it creates a soft, calming effect, but on the other hand there is a slight feeling of anxiety deep inside, because we are always suspicious of things that are hidden and not obvious. It is in such a state that even familiar places seem quite changed and begin to be perceived as different, unexplored and full of mystery. To convey my sense of the twilight landscape, I chose a self-contained, curved shape that feels like it’s hiding something within itself. The structure on the surface, applied in several layers with drops of stoneware slip with a rubber syringe, to create an enveloping, soft and even slightly loose effect. The dark gray color of the object is achieved by adding metal oxides to the stoneware. (Hanna Miadzvedzeva)<\/td>\n<\/tr>\n
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Prizes and Awards 2021<\/h3>\n<\/td>\n<\/tr>\n

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The 12th International Ceramics Competition Mino, Japan<\/h3>\n<\/td>\n<\/tr>\n

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“Life” by Vilma Villaverde.<\/p><\/div>\n<\/td>\n

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Vilma Villaverde – Silver Award<\/h3>\n

Member page<\/a><\/span><\/p>\n

\u201cLife\u201d<\/em>: Recovered after being disregarded and lying underground, a piece discovered in the Shigaraki area comes to my hands. It is a urinal burned in a noborigama kiln, that had been cast aside and buried.
Ceramics, enduring noble material, witness of persistence, gave itself to my potter hands to be taken back to life and resume its cycle of life into a work of art after one hundred years’ time.
Reborn into a new object, it stands as the torso of a woman holding up the golden trophy of genesis.
It is a woman, as it is ceramics, unutterable symbol of fertility. (Vilma Villaverde)<\/p>\n<\/td>\n<\/tr>\n

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Korean International Ceramic Biennale (11th Edition)<\/h3>\n<\/td>\n<\/tr>\n

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Darien Arikoski-Johnson – Gold Prize<\/h3>\n

Member’s page<\/a><\/span><\/p>\n

“Consciousness is bound to our physicality much like glaze is bound to clay. With which I explore the relationship between consciousness, physicality, and technology. \u00a0 Nonrepresentational bodily forms influence the size and shape of planar components that reside on them, mirroring how physicality affects our cognitive state.\u00a0 Scanned paintings, which reference memories, are digitally manipulated and fuzzed to the surface. Asking how technology influences our memory,\u00a0 perception, and experience of the world.” (Darien Arikoski-Johnson)<\/p>\n<\/td>\n

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“Fragmented Framing” by Darien Arikoski-Johnson<\/p><\/div>\n<\/td>\n<\/tr>\n

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“Homunculus LR” (2020), ceramic and glaze, slab building, by Cho Ming-Shun.<\/p><\/div>\n<\/td>\n<\/tr>\n

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Ming-Shun Cho – Gold Prize<\/h3>\n

Member’s page<\/a><\/span><\/p>\n

“Teapots are not merely objects, but episodes. While they are static functional objects on tables, when people use them the connection between organic and inorganic matter is enriching as interaction generates emotion.<\/p>\n

While brewing tea, people discover a profound connection with their teapot \u2014 akin to human-pet relationships. A close bond is created in the delicate union between a hand and handle, linked by the heat of life in the teapot. I cherish this relationship between humanity and our utensils.<\/p>\n<\/td>\n

This symbiosis evolves a teapot\u2019s lifelike characteristics. A teapot and a hand combine to bring out a new life; the hand is a part of the teapot, and the teapot is a part of the hand. This symbiotic relationship is a new relationship between teapots and humans; thus, the teapot has walking feet and emotional motion making them temporal episodes rather than static objects.” (Ming-Shun Cho)<\/td>\n<\/tr>\n
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International Biennale of Artistic Ceramics of Aveiro (16th Edition)<\/h3>\n<\/td>\n<\/tr>\n

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“Big Smile”, 42 x 40 x 21cm, stoneware and porcelain, oxide and pigments, by Ellen van der Woude.<\/p><\/div>\n<\/td>\n<\/tr>\n

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Ellen van der Woude – 1st Place<\/h3>\n

Member’s page<\/a><\/span><\/p>\n

“Nature is of fundamental importance. My sculptures are a reflection of my close observation and connection to the natural world, its resilience and fragility, while also acknowledging lost links between humanity and nature.\u00a0\u00a0I pay tribute to the natural world and hope to remind people to slow down, reconnect with nature and contribute to its conservation.\u00a0<\/p>\n<\/td>\n

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Working intuitively, I combine different clay bodies and porcelain to create imaginative sculptures reminiscent of sub-marine sea life or blooming flora. Rather than relying on glazes, I manipulate textures, stain oxides and colour clay to add visual and tactile interest. All my work is hand built, therefore all pieces are unique.<\/p>\n

The Big Smile series were created after a long dark winter. Longing for light and sun I wanted to create something full of happiness and energy, something to make you smile and to remind you of all the good things life has to offer.” (Ellen van der Woude)<\/p>\n<\/td>\n<\/tr>\n

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“ETA 24.06” by Marie-Jos\u00e9e Comello. \u00a9 Eric Smeets – Fotografie<\/p><\/div>\n<\/td>\n<\/tr>\n

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Marie-Jos\u00e9e Comello – 2nd Place<\/h3>\n

Member’s page<\/a><\/span><\/p>\n

” ‘ETA’ is an abbreviation used in the aviation and stands for ‘Estimated Time of Arrival’.<\/p>\n

ETA 24.06 thus refers to a fictional time of arrival.<\/p>\n

For this work I was interested in the ‘Meantime’, the moment between waking and sleeping, the twilight zone between daytime and night time.<\/p>\n

It refers to the inability of holding time, which is elusive when you want to grab it.<\/p>\n<\/td>\n

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Research about our past and future provides us knowledge to enable ourselves to understand our place in time and space.<\/p>\n

My search deals with the disturbance of this knowledge, starting from the fascination for fragments; I am curious about the absent parts, the still not finished stories and no less the void that a fragment carries along with it.<\/p>\n

It is about the boundary between the known and the unknown, the twilight zone.<\/p>\n

There is silence on the dividing line of meanings.” (Marie-Jos\u00e9e Comello)<\/p>\n<\/td>\n<\/tr>\n

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Prizes and Awards 2020<\/h3>\n<\/td>\n<\/tr>\n

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Taiwan Ceramics Biennale (8th Edition)<\/h3>\n<\/td>\n<\/tr>\n

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“Contained Chrysanthemum” (2019), porcelain, by Susan Beiner.<\/p><\/div>\n<\/td>\n<\/tr>\n

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Susan Beiner – Grand Prize<\/h3>\n

Member’s page<\/a><\/p>\n

“Contained Chrysanthemum<\/em>, is from a series of wall pieces constructed utilizing floral geometry while relying on concepts from stories connected to the history of art.\u00a0<\/p>\n<\/td>\n

Nature and material culture have been subjects of inspiration for centuries.\u00a0 From the earliest times people have found challenge in the natural world. Flowers and their symbology\u2019s are a construction of reality. Art is never a dictation of reality it\u2019s a construction. Nature has its own transcription translated through a filter of our own histories.” (Susan Beiner)<\/td>\n<\/tr>\n
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“nwc1904” by Naoki Kato<\/p><\/div>\n<\/td>\n<\/tr>\n

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\u00a0Naoki Kato – Gold Prize<\/h3>\n

Member’s page<\/a><\/span><\/p>\n

“Pottery is fragile. But that makes it beautiful.<\/p>\n

One of the pottery\u2019s features is that no matter how hard the material appears, it is breakable. Focusing on this, I have made a ceramic piece which seems like it could be broken with just a touch.<\/p>\n<\/td>\n

The bones of vertebrate animals take different forms in order to exercise each motion and function. The skeleton of an animal is an index to represent its animal-ness, its identity. By creating a delicate framework that takes the shape of a vessel, I express the very nature of fragile pottery.” (Naoki Kato)<\/td>\n<\/tr>\n
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Prizes and Awards 2019<\/h3>\n<\/td>\n<\/tr>\n

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International Biennale of Artistic Ceramics of Aveiro (15th Edition)<\/h3>\n<\/td>\n<\/tr>\n

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“Come foglie al vento” by Sara Dario.<\/p><\/div>\n<\/td>\n<\/tr>\n

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Sara Dario – First place<\/h3>\n

Member’s page<\/a><\/span><\/p>\n

“Sara constructs her photosculptures like a film director edits a film. She pinpoints the scenes, fixes them onto the ceramic by assembling them into long strips, through which she finally composes a homogeneous narrative. The resulting piece is therefore structured through the articulated overlapping of ceramic strips that evoke the analogue films of old, chaotically piled up films. […]<\/p>\n<\/td>\n

At a first glance, the works may appear as ordinary vases, but a closer look reveals the narrative level, made readable thanks to a double vision of the work, internal and external, which guides the observer along the unrolling of the tapes in a circular and ascending way, from the bottom to the top.” (Lorenzo Fiorucci)<\/td>\n<\/tr>\n
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Prizes and Awards 2017<\/h3>\n<\/td>\n<\/tr>\n

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Blanc de Chine International Ceramic Art Award (1st Edition)<\/h3>\n<\/td>\n<\/tr>\n

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“Remains of mountain and river”, discarded honeycomb ceramics, 2017.<\/p><\/div>\n<\/td>\n<\/tr>\n

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JIANG Yanze – First Prize<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

“This series work is made from discarded industrial honeycomb ceramics, showing the geometric beauty presented by the unique structures of this material. I deconstruct the discarded pieces and collage them in another way, to interpret the natural scenery that are constantly devoured by the urban landscape.<\/p>\n<\/td>\n

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In the era of industrialization, cities are symbols of the progress of civilization, and at the same time, are the outcome of the continuous separation of man from nature. For every step humanity takes towards civilization, the integrity of nature is chipped away a little. In the city, people strive to recreate natural scenery that have already disappeared. But it leaves only the remnants of mountains and rivers that are in the process of dissolving.” (JIANG Yanze)<\/p>\n<\/td>\n<\/tr>\n

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“Esprit \/ Spirit”, porcelain, carved and turned, 1290 degrees, 2017.<\/p><\/div>\n<\/td>\n<\/tr>\n

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Marc Leuthold – Second Prize<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

“My submission for the Blanc de Chine competition is \u201cEsprit\/Spirit.\u201d\u00a0 This sculpture consists of four ceramic objects presented in relation to two wooden bases. The piece is therefore a set unified thematically and in media.\u00a0 Historically, white Chinese porcelains in France were mounted on ormolu bronze bases and in China in the Qing Dynasty on carved wooden bases. My porcelains are presented in a manner consistent with this historical context. The major object of the set is a fluted carved wheel.\u00a0 On the front side of the wheel is a silhouette image of a prototypical female head.\u00a0 On the reverse side is a harder to discern dragon head and a curved tail inspired by Warring States period (475-221 BC) Chinese jade carvings.<\/p>\n<\/td>\n

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The accompanying vertically presented circular disc resembles somewhat, Bi jade discs with which Chinese buried their dead as a talisman for the departed to enjoy afterlife. In front of these two larger circular forms is a small offering bowl and the impression of the inside of my hand, a source of all my life\u2019s work.\u00a0 \u201cEsprit\/Spirit,\u201d made of Dehua porcelain during a Blanc de Chine residency is a representation of different universal energies.\u00a0 The silhouette and dragon are somewhat like Nietzsche\u2019s Apollo and Dionysus energies in The Birth of Tragedy, a controversial work that has been reviled and admired since being first published in 1872. In their oppositional energies, they are simultaneously creative and destructive, and it is this path that the artist must walk.” (Marc Leuthold)<\/p>\n<\/td>\n<\/tr>\n

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\"\"“Sea Flower”. Photo: Raffaele Tassinari<\/span><\/td>\n<\/tr>\n
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Martha Pachon Rodriguez – Third Prize<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

“The artist evokes the interiority of a marine world populated by mysterious and unknown fauna and flora. The lines are pure, enveloping, but the material and technique used are complex. Martha Pachon Rodriguez proceeds by assembling small fragments of earth, shaped by hand with patience and meticulousness. She also plays with openings and perforations.<\/p>\n<\/td>\n

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She has been inspired by ancient Asian techniques such as Nerikomi style inlays, working with pigmented porcelain. Her use blue evokes the decorations of the Ming period. The creation of these pieces is an event in the form of a journey, which includes a sacred dimension: a magical, cathartic rite, part of an intellectual and conceptual event that requires time and a great deal of patience, skill and joy.” (Claudia Casali, Director of the International Museum of Ceramics in Faenza)<\/p>\n<\/td>\n<\/tr>\n

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Cluj International Ceramics Biennale (3rd Edition)<\/h3>\n<\/td>\n<\/tr>\n

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“In-visible cities X”, Porcelain slip casting with print, 2014.<\/p><\/div>\n<\/td>\n<\/tr>\n

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\u00d6m\u00fcr Tokg\u00f6z – Award of Excellence<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

“I like to think about the cities.
It contains different faces of different cultures, including its history.
This is like a reflection of the human thought. It tells us what we are.
I tried to show two different faces as the city and its shadow.” (\u00d6m\u00fcr Tokg\u00f6z)<\/p>\n<\/td>\n

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\"\" “Mountain”.<\/span><\/td>\n<\/tr>\n
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Velimir Vukicevic – Award of Excellence<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

“Art is about creating object that have formula of its own and speak their own language, creating a dialogue that did not exist before.<\/p>\n

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Making and painting the clouds over mountains I would like to express the idea of transience, impermanence, movement and changeability as basic phenomena of life. A cloud as easy changing form is floating dream, handy template that provokes our imagination.” (Velimir Vukicevic)<\/p>\n<\/td>\n<\/tr>\n

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“The Archeology of Memory: Book of Fire”. Photo: Vlad Basarab<\/span><\/em><\/td>\n<\/tr>\n
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Vlad Basarab – Award of Excellence<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

“The installation Books of Fire represents culture as the foundation of civilization, symbolized by the use of fired and un-fired clay in the construction of an archaeological site in the likeness of an archetypal library with ceramic books. I have chosen to reference books because they are historic symbols of knowledge and collective memory. The books are symbolically left unwritten to suggest the absence, forgetting and to inspire the viewer to imagine what they may contain. Books are symbols, instruments of memory.<\/p>\n<\/td>\n

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From the beginning of history, there has been a strong connection between words and clay, as early forms of writing were on clay tablets. The past plays an important role in my creative process. My role as an artist is to dig through layers of history like an archaeologist in the attempt to recover the loss of collective memory. The notion of historic time and permanence, apparent in the ceramic books, appears in contrast with the fragility of culture and knowledge. In the historical context of the 20th century when ideological and totalitarian systems have led to the mass-destruction of books considered reactionary, the installation brings to attention the human need to save the past through an archaeology of memory.” (Vlad Basarab)<\/p>\n<\/td>\n<\/tr>\n

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Korean International Ceramic Biennale (9th Edition)<\/h3>\n<\/td>\n<\/tr>\n

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“Tube Sculpture”. Photo: J\u00f8rn Hagen<\/p><\/div>\n<\/td>\n

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Torbj\u00f8rn Kvasb\u00f8 – Grand Prize<\/h3>\n

Member’s page<\/a>\u00a0<\/span><\/p>\n

“Craftsmanship and materials, hands, fingers and eyes, are playfully coordinated to generate meaningful visual reflections and new knowledge. The formations and surfaces that occur are often disturbing, ambiguous, immediate and overwhelming \u2013 both beautiful and repulsive. All are combined to create a readable whole \u2013 the encounters, proportions and precision striking a perfect balance: like a killer punch to the solar plexus. The process remains a continuous dialogue between knowledge, practice and cruel critical reflection.\u201d (Torbj\u00f8rn Kvasb\u00f8)<\/p>\n<\/td>\n<\/tr>\n

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\"\" “Whitepoeming , \u767d\u8272\u541f\u904a”<\/span><\/td>\n<\/tr>\n
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Wonjae Jo – Gold Prize<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

“In making Whitepoeming, I focused on individual vessels gathered together in harmony to create one beautiful landscape.<\/p>\n<\/td>\n

Seen from a distance, the light and shadow of the curved surfaces of a group of ten white porcelain vessels make the assembly appear as a forest with different types of trees that move calmly and gently as if on the gentle breeze. Such subtle movement reveals yet another aspect of beauty of this work to the viewers through the process of observing and appreciating details of this piece.”\u00a0(Wonjae Jo)<\/td>\n<\/tr>\n
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\"\"\u00a0“Excavation”<\/span><\/span><\/td>\n<\/tr>\n
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So Ling Yuen – Silver Prize<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

\u201c Excavation is both a process of work and a process of artist\u2019s life.<\/p>\n

In tradition, the broken ceramics is doomed as a fail because of inadequate experience and skill.\u00a0 My artwork, on the contrary, is a breakthrough as \u201cbroken\u201d is my choice in order to form a sculpture.<\/p>\n<\/td>\n

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My practices of shaping layer by layer of high-fired ceramics creates the distinct structure that not only defines my artwork but also breaks through the traditional pattern.” (So Ling Yuen)<\/p>\n<\/td>\n<\/tr>\n

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“nwc1601” by Naoki Kato.<\/p><\/div>\n<\/td>\n<\/tr>\n

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Naoki Kato – Prix en Bronze<\/h3>\n

Member’s page<\/a><\/span><\/p>\n

“Pottery is fragile. But that makes it beautiful.<\/p>\n

One of the pottery\u2019s features is that no matter how hard the material appears, it is breakable. Focusing on this, I have made a ceramic piece which seems like it could be broken with just a touch.<\/p>\n<\/td>\n

The bones of vertebrate animals take different forms in order to exercise each motion and function. The skeleton of an animal is an index to represent its animal-ness, its identity. By creating a delicate framework that takes the shape of a vessel, I express the very nature of fragile pottery.” (Naoki Kato)<\/td>\n<\/tr>\n
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International Biennale of Artistic Ceramics of Aveiro (14th Edition)<\/h3>\n<\/td>\n<\/tr>\n

\"\" “A Long Walk to Freedom”, white stoneware, moulds, 1280 degrees, 2016.<\/span><\/td>\n<\/tr>\n
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Yola Vale – 3rd Prize<\/h3>\n

Member’s page<\/span><\/a><\/p>\n

Long Walk to Freedom is one of the boldest works in the “Fragmentos Suspensos” series. Ambitious in composition and size, the work seeks to reflect the harsh reality faced by refugees from around the world on their long journey to a safe haven. Those fleeing conflict, hunger, extreme desolation; they venture on a thorny path where hope is the only motivation.<\/p>\n

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A path that is a shot in the dark, a Russian roulette where life is gambled, because to stay is to know that it is already doomed. A work that simultaneously intends to serve as an analogy for the life of each of us, more or less easy, but always with obstacles on the way that we intend to make more human. As Fernando Pessoa said: “Stones on the road? I’ll keep them all, one day I’ll build a castle”. Yola Vale has built a rough sea, a winding path, a labyrinth of subterfuges, a call to consciousness.<\/td>\n<\/tr>\n
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\u00a0<\/h3>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n","protected":false,"raw":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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The IAC decided to create a new webpage focused on prizes and awards won by our members in the context of prestigious international competitions, starting in 2017.<\/p>\r\n

This is yet another way to promote contemporary ceramics and contribute to making IAC artists more visible.<\/p>\r\n<\/td>\r\n

\r\n

This new webpage will be notably devoted to those distinctions obtained in the context of competitions from partnering institutions of the IAC, such as KOCEF, Mino, Seto, Yingge, Vallauris, etc.<\/p>\r\n

Please send your notice to the IAC Office (office@aic-iac.org) which will take care of the publication.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Prizes and Awards 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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The 13th International Ceramics Competition Mino, Japan<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_75127\" align=\"alignnone\" width=\"2500\"]\"\" \"The Kiln\" (2021), clay, glaze, fragments of an electric kiln. Hand-building, 1280\u00b0C.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ielizaveta PORTNOVA - Grand Prix<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

\"This work is from my abstract zoomorphic series, which I started in 2018. In the works of this series I use both my previously made objects and objects of other authors. Sometimes I work from scraps of old works or from pieces of sculptures made specifically for the project<\/p>\r\n

In the work \u201cKiln\u201d I used the fragments of my kiln. We made this kiln in 2002. Once, one piece exploded during firing and damaged the kiln. By this time, the kiln had completed more than 500 firings. Fragments of a kiln and heating elements were inlaid into this work.<\/p>\r\n<\/td>\r\n

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The original object has its own character and energy. I use this data to develop the source material into the final image. My task is to visualize the history of transformation of the original object into an abstract zoomorphic figure.\" (Ielizaveta Portnova)<\/p>\r\n

-- Now I feel like this beast assembled from the fragments of the past. The past is valuable but painful. War deprives us of our human appearance. --<\/em><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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2024 Taiwan Ceramics Biennale<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73571\" align=\"alignnone\" width=\"2560\"]\"\" \"Loop #12\" by Jing HUANG (USA\/China, IAC member since 2023)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Jing HUANG - Silver Award<\/h3>\r\n

Membre page<\/a><\/span><\/p>\r\n

\u2018Loop\u2019 is a series of works that indicate no beginning or end, but places an emphasis on the winding path itself. Amid the dislocation and ambiguity of being neither here nor there, I anchor myself by tracing my past and taking inspiration from the early memory of my hometown (Guilin)\u2019s landscape after a long departure. \u2018Loop\u2019 is not only a representation of the actual landscape; it mirrors the feelings of respect and appreciation for my past, culture and tradition. It\u2019s a process of seeking a deeper understanding of my identity and experience in the world.<\/p>\r\n<\/td>\r\n

Its Chinese title, '\u56de,' has several meanings in Chinese: to circle, to step back, to turn around, to return. This unique pictographic character not only represents the form of the work but also symbolizes the return to the process itself, celebrating my identity, past, and culture. (Jing HUANG)<\/td>\r\n<\/tr>\r\n
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5th Officine Saffi Award<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73570\" align=\"alignnone\" width=\"2560\"]\"\" \u201cThe Twilight Landscape\u201d (2023) by Hanna Miadzvedzeva (Belarus, IAC member since 2021)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - Residency Prize Gaya Ceramic Arts Center<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

This work is part of a larger series of works called \"Landscapes\" that I've been doing for the last couple of years. In the series, I portray my feelings about the places I visit - new cities and regions, natural places. I especially like observing new landscapes from a bird's eye view, flying over them with an airplane, when forests and fields alternate with each other to create a unique textural pattern. Also a very important aspect of my perception of the surrounding area is light and the nature of its dispersion in space. Twilight is a very specific state, when in a fairly short period of time there is a transcendental transition from bright day to completely dark night.<\/p>\r\n<\/td>\r\n

I heard that this period of the evening is considered the most dangerous for drivers because of the so-called \"twilight blindness\". Everything around us seems to be wrapped in a gray velvet - on the one hand it creates a soft, calming effect, but on the other hand there is a slight feeling of anxiety deep inside, because we are always suspicious of things that are hidden and not obvious. It is in such a state that even familiar places seem quite changed and begin to be perceived as different, unexplored and full of mystery. To convey my sense of the twilight landscape, I chose a self-contained, curved shape that feels like it's hiding something within itself. The structure on the surface, applied in several layers with drops of stoneware slip with a rubber syringe, to create an enveloping, soft and even slightly loose effect. The dark gray color of the object is achieved by adding metal oxides to the stoneware. (Hanna Miadzvedzeva)<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2021<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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The 12th International Ceramics Competition Mino, Japan<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_64303\" align=\"alignnone\" width=\"505\"]\"\" \"Life\" by Vilma Villaverde.[\/caption]\r\n<\/td>\r\n\r\n

Vilma Villaverde - Silver Award<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

\u201cLife\u201d<\/em>: Recovered after being disregarded and lying underground, a piece discovered in the Shigaraki area comes to my hands. It is a urinal burned in a noborigama kiln, that had been cast aside and buried.
Ceramics, enduring noble material, witness of persistence, gave itself to my potter hands to be taken back to life and resume its cycle of life into a work of art after one hundred years' time.
Reborn into a new object, it stands as the torso of a woman holding up the golden trophy of genesis.
It is a woman, as it is ceramics, unutterable symbol of fertility. (Vilma Villaverde)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Korean International Ceramic Biennale (11th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Darien Arikoski-Johnson - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Consciousness is bound to our physicality much like glaze is bound to clay. With which I explore the relationship between consciousness, physicality, and technology. \u00a0 Nonrepresentational bodily forms influence the size and shape of planar components that reside on them, mirroring how physicality affects our cognitive state.\u00a0 Scanned paintings, which reference memories, are digitally manipulated and fuzzed to the surface. Asking how technology influences our memory,\u00a0 perception, and experience of the world.\" (Darien Arikoski-Johnson)<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_68311\" align=\"alignnone\" width=\"1200\"]\"\" \"Fragmented Framing\" by Darien Arikoski-Johnson[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_68337\" align=\"alignnone\" width=\"2185\"]\"\" \"Homunculus LR\" (2020), ceramic and glaze, slab building, by Cho Ming-Shun.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ming-Shun Cho - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Teapots are not merely objects, but episodes. While they are static functional objects on tables, when people use them the connection between organic and inorganic matter is enriching as interaction generates emotion.<\/p>\r\n

While brewing tea, people discover a profound connection with their teapot \u2014 akin to human-pet relationships. A close bond is created in the delicate union between a hand and handle, linked by the heat of life in the teapot. I cherish this relationship between humanity and our utensils.<\/p>\r\n<\/td>\r\n

This symbiosis evolves a teapot\u2019s lifelike characteristics. A teapot and a hand combine to bring out a new life; the hand is a part of the teapot, and the teapot is a part of the hand. This symbiotic relationship is a new relationship between teapots and humans; thus, the teapot has walking feet and emotional motion making them temporal episodes rather than static objects.\" (Ming-Shun Cho)<\/td>\r\n<\/tr>\r\n
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International Biennale of Artistic Ceramics of Aveiro (16th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68318\" align=\"alignnone\" width=\"2250\"]\"\" \"Big Smile\", 42 x 40 x 21cm, stoneware and porcelain, oxide and pigments, by Ellen van der Woude.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ellen van der Woude - 1st Place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Nature is of fundamental importance. My sculptures are a reflection of my close observation and connection to the natural world, its resilience and fragility, while also acknowledging lost links between humanity and nature.\u00a0\u00a0I pay tribute to the natural world and hope to remind people to slow down, reconnect with nature and contribute to its conservation.\u00a0<\/p>\r\n<\/td>\r\n

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Working intuitively, I combine different clay bodies and porcelain to create imaginative sculptures reminiscent of sub-marine sea life or blooming flora. Rather than relying on glazes, I manipulate textures, stain oxides and colour clay to add visual and tactile interest. All my work is hand built, therefore all pieces are unique.<\/p>\r\n

The Big Smile series were created after a long dark winter. Longing for light and sun I wanted to create something full of happiness and energy, something to make you smile and to remind you of all the good things life has to offer.\" (Ellen van der Woude)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_68329\" align=\"alignnone\" width=\"1700\"]\"\" \"ETA 24.06\" by Marie-Jos\u00e9e Comello. \u00a9 Eric Smeets - Fotografie[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marie-Jos\u00e9e Comello - 2nd Place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\" 'ETA' is an abbreviation used in the aviation and stands for 'Estimated Time of Arrival'.<\/p>\r\n

ETA 24.06 thus refers to a fictional time of arrival.<\/p>\r\n

For this work I was interested in the 'Meantime', the moment between waking and sleeping, the twilight zone between daytime and night time.<\/p>\r\n

It refers to the inability of holding time, which is elusive when you want to grab it.<\/p>\r\n<\/td>\r\n

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Research about our past and future provides us knowledge to enable ourselves to understand our place in time and space.<\/p>\r\n

My search deals with the disturbance of this knowledge, starting from the fascination for fragments; I am curious about the absent parts, the still not finished stories and no less the void that a fragment carries along with it.<\/p>\r\n

It is about the boundary between the known and the unknown, the twilight zone.<\/p>\r\n

There is silence on the dividing line of meanings.\" (Marie-Jos\u00e9e Comello)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Prizes and Awards 2020<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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Taiwan Ceramics Biennale (8th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68341\" align=\"aligncenter\" width=\"481\"]\"\" \"Contained Chrysanthemum\" (2019), porcelain, by Susan Beiner.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Susan Beiner - Grand Prize<\/h3>\r\n

Member's page<\/a><\/p>\r\n

\"Contained Chrysanthemum<\/em>, is from a series of wall pieces constructed utilizing floral geometry while relying on concepts from stories connected to the history of art.\u00a0<\/p>\r\n<\/td>\r\n

Nature and material culture have been subjects of inspiration for centuries.\u00a0 From the earliest times people have found challenge in the natural world. Flowers and their symbology\u2019s are a construction of reality. Art is never a dictation of reality it\u2019s a construction. Nature has its own transcription translated through a filter of our own histories.\" (Susan Beiner)<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_68301\" align=\"alignnone\" width=\"2048\"]\"\" \"nwc1904\" by Naoki Kato[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\u00a0Naoki Kato - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Pottery is fragile. But that makes it beautiful.<\/p>\r\n

One of the pottery\u2019s features is that no matter how hard the material appears, it is breakable. Focusing on this, I have made a ceramic piece which seems like it could be broken with just a touch.<\/p>\r\n<\/td>\r\n

The bones of vertebrate animals take different forms in order to exercise each motion and function. The skeleton of an animal is an index to represent its animal-ness, its identity. By creating a delicate framework that takes the shape of a vessel, I express the very nature of fragile pottery.\" (Naoki Kato)<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2019<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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International Biennale of Artistic Ceramics of Aveiro (15th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68534\" align=\"alignnone\" width=\"787\"]\"\" \"Come foglie al vento\" by Sara Dario.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Sara Dario - First place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Sara constructs her photosculptures like a film director edits a film. She pinpoints the scenes, fixes them onto the ceramic by assembling them into long strips, through which she finally composes a homogeneous narrative. The resulting piece is therefore structured through the articulated overlapping of ceramic strips that evoke the analogue films of old, chaotically piled up films. [...]<\/p>\r\n<\/td>\r\n

At a first glance, the works may appear as ordinary vases, but a closer look reveals the narrative level, made readable thanks to a double vision of the work, internal and external, which guides the observer along the unrolling of the tapes in a circular and ascending way, from the bottom to the top.\" (Lorenzo Fiorucci)<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2017<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Blanc de Chine International Ceramic Art Award (1st Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_57663\" align=\"alignnone\" width=\"1772\"]\"\" \"Remains of mountain and river\", discarded honeycomb ceramics, 2017.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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JIANG Yanze - First Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"This series work is made from discarded industrial honeycomb ceramics, showing the geometric beauty presented by the unique structures of this material. I deconstruct the discarded pieces and collage them in another way, to interpret the natural scenery that are constantly devoured by the urban landscape.<\/p>\r\n<\/td>\r\n

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In the era of industrialization, cities are symbols of the progress of civilization, and at the same time, are the outcome of the continuous separation of man from nature. For every step humanity takes towards civilization, the integrity of nature is chipped away a little. In the city, people strive to recreate natural scenery that have already disappeared. But it leaves only the remnants of mountains and rivers that are in the process of dissolving.\" (JIANG Yanze)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_31158\" align=\"alignleft\" width=\"3000\"]\"\" \"Esprit \/ Spirit\", porcelain, carved and turned, 1290 degrees, 2017.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marc Leuthold - Second Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"My submission for the Blanc de Chine competition is \u201cEsprit\/Spirit.\u201d\u00a0 This sculpture consists of four ceramic objects presented in relation to two wooden bases. The piece is therefore a set unified thematically and in media.\u00a0 Historically, white Chinese porcelains in France were mounted on ormolu bronze bases and in China in the Qing Dynasty on carved wooden bases. My porcelains are presented in a manner consistent with this historical context. The major object of the set is a fluted carved wheel.\u00a0 On the front side of the wheel is a silhouette image of a prototypical female head.\u00a0 On the reverse side is a harder to discern dragon head and a curved tail inspired by Warring States period (475-221 BC) Chinese jade carvings.<\/p>\r\n<\/td>\r\n

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The accompanying vertically presented circular disc resembles somewhat, Bi jade discs with which Chinese buried their dead as a talisman for the departed to enjoy afterlife. In front of these two larger circular forms is a small offering bowl and the impression of the inside of my hand, a source of all my life\u2019s work.\u00a0 \u201cEsprit\/Spirit,\u201d made of Dehua porcelain during a Blanc de Chine residency is a representation of different universal energies.\u00a0 The silhouette and dragon are somewhat like Nietzsche\u2019s Apollo and Dionysus energies in The Birth of Tragedy, a controversial work that has been reviled and admired since being first published in 1872. In their oppositional energies, they are simultaneously creative and destructive, and it is this path that the artist must walk.\" (Marc Leuthold)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\"\"\"Sea Flower\". Photo: Raffaele Tassinari<\/span><\/td>\r\n<\/tr>\r\n
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Martha Pachon Rodriguez - Third Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"The artist evokes the interiority of a marine world populated by mysterious and unknown fauna and flora. The lines are pure, enveloping, but the material and technique used are complex. Martha Pachon Rodriguez proceeds by assembling small fragments of earth, shaped by hand with patience and meticulousness. She also plays with openings and perforations.<\/p>\r\n<\/td>\r\n

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She has been inspired by ancient Asian techniques such as Nerikomi style inlays, working with pigmented porcelain. Her use blue evokes the decorations of the Ming period. The creation of these pieces is an event in the form of a journey, which includes a sacred dimension: a magical, cathartic rite, part of an intellectual and conceptual event that requires time and a great deal of patience, skill and joy.\" (Claudia Casali, Director of the International Museum of Ceramics in Faenza)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Cluj International Ceramics Biennale (3rd Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_57703\" align=\"alignnone\" width=\"1024\"]\"\" \"In-visible cities X\", Porcelain slip casting with print, 2014.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\u00d6m\u00fcr Tokg\u00f6z - Award of Excellence<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"I like to think about the cities.
It contains different faces of different cultures, including its history.
This is like a reflection of the human thought. It tells us what we are.
I tried to show two different faces as the city and its shadow.\" (\u00d6m\u00fcr Tokg\u00f6z)<\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
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\"\" \"Mountain\".<\/span><\/td>\r\n<\/tr>\r\n
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Velimir Vukicevic - Award of Excellence<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"Art is about creating object that have formula of its own and speak their own language, creating a dialogue that did not exist before.


<\/p>\r\n<\/td>\r\n

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Making and painting the clouds over mountains I would like to express the idea of transience, impermanence, movement and changeability as basic phenomena of life. A cloud as easy changing form is floating dream, handy template that provokes our imagination.\" (Velimir Vukicevic)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\"\"
\"The Archeology of Memory: Book of Fire\". Photo: Vlad Basarab<\/span><\/em><\/td>\r\n<\/tr>\r\n
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Vlad Basarab - Award of Excellence<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"The installation Books of Fire represents culture as the foundation of civilization, symbolized by the use of fired and un-fired clay in the construction of an archaeological site in the likeness of an archetypal library with ceramic books. I have chosen to reference books because they are historic symbols of knowledge and collective memory. The books are symbolically left unwritten to suggest the absence, forgetting and to inspire the viewer to imagine what they may contain. Books are symbols, instruments of memory.<\/p>\r\n<\/td>\r\n

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From the beginning of history, there has been a strong connection between words and clay, as early forms of writing were on clay tablets. The past plays an important role in my creative process. My role as an artist is to dig through layers of history like an archaeologist in the attempt to recover the loss of collective memory. The notion of historic time and permanence, apparent in the ceramic books, appears in contrast with the fragility of culture and knowledge. In the historical context of the 20th century when ideological and totalitarian systems have led to the mass-destruction of books considered reactionary, the installation brings to attention the human need to save the past through an archaeology of memory.\" (Vlad Basarab)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Korean International Ceramic Biennale (9th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_28819\" align=\"alignnone\" width=\"300\"]\"\" \"Tube Sculpture\". Photo: J\u00f8rn Hagen[\/caption]\r\n<\/td>\r\n\r\n

Torbj\u00f8rn Kvasb\u00f8 - Grand Prize<\/h3>\r\n

Member's page<\/a>\u00a0<\/span><\/p>\r\n

\"Craftsmanship and materials, hands, fingers and eyes, are playfully coordinated to generate meaningful visual reflections and new knowledge. The formations and surfaces that occur are often disturbing, ambiguous, immediate and overwhelming \u2013 both beautiful and repulsive. All are combined to create a readable whole \u2013 the encounters, proportions and precision striking a perfect balance: like a killer punch to the solar plexus. The process remains a continuous dialogue between knowledge, practice and cruel critical reflection.\u201d (Torbj\u00f8rn Kvasb\u00f8)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\"\" \"Whitepoeming , \u767d\u8272\u541f\u904a\"<\/span><\/td>\r\n<\/tr>\r\n
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Wonjae Jo - Gold Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"In making Whitepoeming, I focused on individual vessels gathered together in harmony to create one beautiful landscape.<\/p>\r\n<\/td>\r\n

Seen from a distance, the light and shadow of the curved surfaces of a group of ten white porcelain vessels make the assembly appear as a forest with different types of trees that move calmly and gently as if on the gentle breeze. Such subtle movement reveals yet another aspect of beauty of this work to the viewers through the process of observing and appreciating details of this piece.\"\u00a0(Wonjae Jo)<\/td>\r\n<\/tr>\r\n
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\"\"\u00a0\"Excavation\"<\/span><\/span><\/td>\r\n<\/tr>\r\n
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So Ling Yuen - Silver Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\u201c Excavation is both a process of work and a process of artist\u2019s life.<\/p>\r\n

In tradition, the broken ceramics is doomed as a fail because of inadequate experience and skill.\u00a0 My artwork, on the contrary, is a breakthrough as \u201cbroken\u201d is my choice in order to form a sculpture.<\/p>\r\n<\/td>\r\n

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My practices of shaping layer by layer of high-fired ceramics creates the distinct structure that not only defines my artwork but also breaks through the traditional pattern.\" (So Ling Yuen)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_68502\" align=\"alignnone\" width=\"2048\"]\"\" \"nwc1601\" by Naoki Kato.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Naoki Kato - Prix en Bronze<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Pottery is fragile. But that makes it beautiful.<\/p>\r\n

One of the pottery\u2019s features is that no matter how hard the material appears, it is breakable. Focusing on this, I have made a ceramic piece which seems like it could be broken with just a touch.<\/p>\r\n<\/td>\r\n

The bones of vertebrate animals take different forms in order to exercise each motion and function. The skeleton of an animal is an index to represent its animal-ness, its identity. By creating a delicate framework that takes the shape of a vessel, I express the very nature of fragile pottery.\" (Naoki Kato)<\/td>\r\n<\/tr>\r\n
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International Biennale of Artistic Ceramics of Aveiro (14th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\"\" \"A Long Walk to Freedom\", white stoneware, moulds, 1280 degrees, 2016.<\/span><\/td>\r\n<\/tr>\r\n
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Yola Vale - 3rd Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n


Long Walk to Freedom is one of the boldest works in the \"Fragmentos Suspensos\" series. Ambitious in composition and size, the work seeks to reflect the harsh reality faced by refugees from around the world on their long journey to a safe haven. Those fleeing conflict, hunger, extreme desolation; they venture on a thorny path where hope is the only motivation.<\/p>\r\n

 <\/p>\r\n<\/td>\r\n

A path that is a shot in the dark, a Russian roulette where life is gambled, because to stay is to know that it is already doomed. A work that simultaneously intends to serve as an analogy for the life of each of us, more or less easy, but always with obstacles on the way that we intend to make more human. As Fernando Pessoa said: \"Stones on the road? I'll keep them all, one day I'll build a castle\". Yola Vale has built a rough sea, a winding path, a labyrinth of subterfuges, a call to consciousness.<\/td>\r\n<\/tr>\r\n
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 <\/p>"},"excerpt":{"rendered":"

This page is dedicated to prizes and awards that are won by our members in the context of prestigious international competitions.<\/p>\n","protected":false,"raw":"This page is dedicated to prizes and awards that are won by our members in the context of prestigious international competitions."},"author":1291,"featured_media":25033,"parent":8,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_fr_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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L'AIC a d\u00e9cid\u00e9 de cr\u00e9er une nouvelle page internet d\u00e9di\u00e9e aux prix et r\u00e9compenses que les membres de l'Acad\u00e9mie remportent lors de prestigieuses comp\u00e9titions internationales d\u00e8s 2017.<\/p>\r\n<\/div>\r\n

C'est un moyen de promotion suppl\u00e9mentaire pour accro\u00eetre la visibilit\u00e9 de la c\u00e9ramique contemporaine et promouvoir les artistes de notre r\u00e9seau.\u00a0<\/p>\r\n<\/td>\r\n

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Cette nouvelle page internet a notamment vocation \u00e0 recenser les distinctions obtenues dans le cadre de concours organis\u00e9s par des institutions partenaires de l'AIC, telles que KOCEF, Mino, Seto, Yingge, Vallauris, etc.<\/p>\r\n

Veuillez adresser les informations relatives \u00e0 ces prix et r\u00e9compenses au bureau de l'AIC (office@aic-iac.org), qui se chargera de la publication de l'annonce.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Prix et R\u00e9compenses 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Comp\u00e9tition internationale de la c\u00e9ramique de Mino, Japon (13\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_75127\" align=\"alignnone\" width=\"2500\"]\"\" \"The Kiln\" (2021), clay, glaze, fragments of an electric kiln. Hand-building, 1280\u00b0C.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ielizaveta PORTNOVA - Grand Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"Cette \u0153uvre est issue de ma s\u00e9rie zoomorphe abstraite, que j'ai commenc\u00e9e en 2018. Dans les \u0153uvres de cette s\u00e9rie, j'utilise \u00e0 la fois mes objets d\u00e9j\u00e0 r\u00e9alis\u00e9s et des objets d'autres auteurs. Parfois, je travaille \u00e0 partir de chutes d'anciennes \u0153uvres ou de morceaux de sculptures r\u00e9alis\u00e9es sp\u00e9cifiquement pour le projet.<\/p>\r\n

Dans l'\u0153uvre \"Kiln\", j'ai utilis\u00e9 les fragments de mon four. Nous avons fabriqu\u00e9 ce four en 2002. Une fois, une pi\u00e8ce a explos\u00e9 pendant la cuisson et a endommag\u00e9 le four. \u00c0 ce moment-l\u00e0, le four avait effectu\u00e9 plus de 500 cuissons. Des fragments de four et d'\u00e9l\u00e9ments chauffants ont \u00e9t\u00e9 incrust\u00e9s dans cette \u0153uvre.<\/p>\r\n<\/td>\r\n

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L'objet original a son propre caract\u00e8re et sa propre \u00e9nergie. J'utilise ces donn\u00e9es pour d\u00e9velopper le mat\u00e9riau d'origine jusqu'\u00e0 l'image finale. Ma t\u00e2che consiste \u00e0 visualiser l'histoire de la transformation de l'objet original en une figure zoomorphe abstraite\". (Ielizaveta Portnova)<\/p>\r\n

-- Aujourd'hui, j'ai l'impression d'\u00eatre une b\u00eate assembl\u00e9e \u00e0 partir des fragments du pass\u00e9. Le pass\u00e9 est pr\u00e9cieux mais douloureux. La guerre nous prive de notre apparence humaine. --<\/em><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale de la C\u00e9ramique de Taiwan 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73571\" align=\"alignnone\" width=\"2560\"]\"\" \"Loop #12\" by Jing HUANG (USA\/China, IAC member since 2023)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Jing HUANG - Prix d'argent<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Loop\" est une s\u00e9rie d'\u0153uvres qui n'indiquent ni d\u00e9but ni fin, mais qui mettent l'accent sur le chemin sinueux lui-m\u00eame. Au milieu de la dislocation et de l'ambigu\u00eft\u00e9 d'\u00eatre ni ici ni l\u00e0, je m'ancre en retra\u00e7ant mon pass\u00e9 et en m'inspirant des premiers souvenirs du paysage de ma ville natale (Guilin) apr\u00e8s un long d\u00e9part. Loop\" n'est pas seulement une repr\u00e9sentation du paysage actuel ; elle refl\u00e8te les sentiments de respect et d'appr\u00e9ciation de mon pass\u00e9, de ma culture et de mes traditions. C'est un processus de recherche d'une compr\u00e9hension plus profonde de mon identit\u00e9 et de mon exp\u00e9rience dans le monde.<\/p>\r\n

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Son titre chinois, \"\u56de\", a plusieurs significations en chinois : faire le tour, reculer, se retourner, revenir. Ce caract\u00e8re pictographique unique repr\u00e9sente non seulement la forme de l'\u0153uvre, mais symbolise \u00e9galement le retour au processus lui-m\u00eame, c\u00e9l\u00e9brant mon identit\u00e9, mon pass\u00e9 et ma culture. (Jing HUANG)<\/td>\r\n<\/tr>\r\n
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5\u00e8me Prix de l'Officine Saffi<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73570\" align=\"alignnone\" width=\"2560\"]\"\" \u201cThe Twilight Landscape\u201d (2023) by Hanna Miadzvedzeva (Belarus, IAC member since 2021)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - Prix de r\u00e9sidence au Centre d'art c\u00e9ramique Gaya<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Ce travail fait partie d'une s\u00e9rie plus large d'\u0153uvres appel\u00e9es \"Landscapes\" que je r\u00e9alise depuis quelques ann\u00e9es. Dans cette s\u00e9rie, je d\u00e9peins mes sentiments \u00e0 l'\u00e9gard des lieux que je visite - nouvelles villes et r\u00e9gions, lieux naturels. J'aime particuli\u00e8rement observer les nouveaux paysages d'un point de vue a\u00e9rien, en les survolant en avion, lorsque les for\u00eats et les champs alternent les uns avec les autres pour cr\u00e9er un motif textur\u00e9 unique. La lumi\u00e8re et la nature de sa dispersion dans l'espace constituent \u00e9galement un aspect tr\u00e8s important de ma perception de l'environnement. Le cr\u00e9puscule est un \u00e9tat tr\u00e8s sp\u00e9cifique o\u00f9, dans un laps de temps assez court, il y a une transition transcendantale d'un jour lumineux \u00e0 une nuit compl\u00e8tement noire.<\/p>\r\n<\/td>\r\n

J'ai entendu dire que cette p\u00e9riode de la soir\u00e9e est consid\u00e9r\u00e9e comme la plus dangereuse pour les conducteurs en raison de ce que l'on appelle la \"c\u00e9cit\u00e9 cr\u00e9pusculaire\". Tout ce qui nous entoure semble envelopp\u00e9 d'un velours gris - d'une part, cela cr\u00e9e un effet doux et apaisant, mais d'autre part, il y a un l\u00e9ger sentiment d'anxi\u00e9t\u00e9 au fond de nous, parce que nous nous m\u00e9fions toujours de ce qui est cach\u00e9 et non \u00e9vident. C'est dans un tel \u00e9tat que m\u00eame les lieux familiers semblent changer et commencent \u00e0 \u00eatre per\u00e7us comme diff\u00e9rents, inexplor\u00e9s et pleins de myst\u00e8re. Pour traduire ma perception du paysage cr\u00e9pusculaire, j'ai choisi une forme incurv\u00e9e et autonome qui semble cacher quelque chose en elle-m\u00eame. La structure de la surface, appliqu\u00e9e en plusieurs couches avec des gouttes d'engobe de gr\u00e8s \u00e0 l'aide d'une seringue en caoutchouc, cr\u00e9e un effet enveloppant, doux et m\u00eame l\u00e9g\u00e8rement l\u00e2che. La couleur gris fonc\u00e9 de l'objet est obtenue en ajoutant des oxydes m\u00e9talliques au gr\u00e8s. (Hanna Miadzvedzeva)<\/td>\r\n<\/tr>\r\n
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Prix et R\u00e9compenses 2021<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Comp\u00e9tition internationale de la c\u00e9ramique de Mino, Japon (12\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_64303\" align=\"alignnone\" width=\"505\"]\"\" \"Life\" by Vilma Villaverde.[\/caption]\r\n<\/td>\r\n\r\n

Vilma Villaverde - Prix d'argent<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\u201cLife\u201d <\/em>: R\u00e9cup\u00e9r\u00e9e apr\u00e8s avoir \u00e9t\u00e9 ignor\u00e9e et enfouie, une pi\u00e8ce d\u00e9couverte dans la r\u00e9gion de Shigaraki me parvient. Il s'agit d'un urinoir br\u00fbl\u00e9 dans un four noborigama, qui avait \u00e9t\u00e9 mis de c\u00f4t\u00e9 et enterr\u00e9.
La c\u00e9ramique, mat\u00e9riau noble et durable, t\u00e9moin de la persistance, s'est donn\u00e9e \u00e0 mes mains de poti\u00e8re pour \u00eatre ramen\u00e9e \u00e0 la vie et reprendre son cycle de vie en \u0153uvre d'art apr\u00e8s cent ans.
Renaissant en un nouvel objet, il se dresse comme le torse d'une femme brandissant le troph\u00e9e d'or de la gen\u00e8se.
C'est une femme, comme c'est une c\u00e9ramique, symbole indicible de la fertilit\u00e9. (Vilma Villaverde)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale Internationale de la C\u00e9ramique Cor\u00e9enne \/ KICB (11\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Darien Arikoski-Johnson - Prix en Or<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"La conscience est li\u00e9e \u00e0 notre physicalit\u00e9 comme le gla\u00e7age est li\u00e9 \u00e0 l'argile. Avec cette \u0153uvre, j'explore la relation entre la conscience, la physicalit\u00e9 et la technologie. Les formes corporelles non repr\u00e9sentatives influencent la taille et la forme des composants planaires qui y r\u00e9sident, refl\u00e9tant la fa\u00e7on dont la physicalit\u00e9 affecte notre \u00e9tat cognitif. Les peintures scann\u00e9es, qui font r\u00e9f\u00e9rence \u00e0 des souvenirs, sont manipul\u00e9es num\u00e9riquement et rendues floues \u00e0 la surface. La question est de savoir comment la technologie influence notre m\u00e9moire, notre perception et notre exp\u00e9rience du monde.\" (Darien Arikoski-Johnson)<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_68311\" align=\"alignnone\" width=\"1200\"]\"\" \"Fragmented Framing\" by Darien Arikoski-Johnson[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_68337\" align=\"alignnone\" width=\"2185\"]\"\" \"Homunculus LR\" (2020), ceramic and glaze, slab building, by Cho Ming-Shun.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ming-Shun Cho - Prix en Or<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"Les th\u00e9i\u00e8res ne sont pas de simples objets, mais des \u00e9pisodes. Alors qu'elles sont des objets fonctionnels statiques pos\u00e9s sur des tables, lorsque les gens les utilisent, le lien entre la mati\u00e8re organique et inorganique est enrichissant, car l'interaction g\u00e9n\u00e8re de l'\u00e9motion.<\/p>\r\n

En pr\u00e9parant le th\u00e9, les gens d\u00e9couvrent un lien profond avec leur th\u00e9i\u00e8re, qui s'apparente \u00e0 la relation entre un homme et son animal de compagnie. Un lien \u00e9troit se cr\u00e9e dans l'union d\u00e9licate entre une main et une poign\u00e9e, li\u00e9e par la chaleur de la vie dans la th\u00e9i\u00e8re. Je ch\u00e9ris cette relation entre l'humanit\u00e9 et nos ustensiles.<\/p>\r\n<\/td>\r\n

Cette symbiose fait \u00e9voluer les caract\u00e9ristiques d'une th\u00e9i\u00e8re. Une th\u00e9i\u00e8re et une main se combinent pour donner naissance \u00e0 une nouvelle vie ; la main fait partie de la th\u00e9i\u00e8re, et la th\u00e9i\u00e8re fait partie de la main. Cette relation symbiotique est une nouvelle relation entre les th\u00e9i\u00e8res et les humains ; ainsi, la th\u00e9i\u00e8re a des pieds qui marchent et un mouvement \u00e9motionnel qui en font des \u00e9pisodes temporels plut\u00f4t que des objets statiques.\" (Ming-Shun Cho)<\/td>\r\n<\/tr>\r\n
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Biennale Internationale de C\u00e9ramiques Artistiques d'Aveiro (16\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68318\" align=\"alignnone\" width=\"2250\"]\"\" \"Big Smile\", 42 x 40 x 21cm, stoneware and porcelain, oxide and pigments, by Ellen van der Woude.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ellen van der Woude - Premier Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"La nature est d'une importance fondamentale. Mes sculptures sont le reflet de mon observation attentive et de mon lien avec le monde naturel, sa r\u00e9silience et sa fragilit\u00e9, tout en reconnaissant les liens perdus entre l'humanit\u00e9 et la nature. Je rends hommage au monde naturel et j'esp\u00e8re rappeler aux gens de ralentir, de se reconnecter \u00e0 la nature et de contribuer \u00e0 sa conservation.<\/p>\r\n<\/td>\r\n

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Travaillant de mani\u00e8re intuitive, je combine diff\u00e9rents types d'argile et de porcelaine pour cr\u00e9er des sculptures imaginatives qui rappellent la vie sous-marine ou la flore florissante. Plut\u00f4t que de me fier aux \u00e9maux, je manipule les textures, je teinte les oxydes et je colore l'argile pour ajouter un int\u00e9r\u00eat visuel et tactile. Toutes mes \u0153uvres sont fabriqu\u00e9es \u00e0 la main, ce qui fait qu'elles sont toutes uniques.<\/p>\r\n

La s\u00e9rie Big Smile a \u00e9t\u00e9 cr\u00e9\u00e9e apr\u00e8s un long hiver sombre. Aspirant \u00e0 la lumi\u00e8re et au soleil, je voulais cr\u00e9er quelque chose de plein de bonheur et d'\u00e9nergie, quelque chose qui vous fasse sourire et vous rappelle toutes les bonnes choses que la vie a \u00e0 offrir.\" (Ellen van der Woude)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_68329\" align=\"alignnone\" width=\"1700\"]\"\" \"ETA 24.06\" by Marie-Jos\u00e9e Comello. \u00a9 Eric Smeets - Fotografie[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marie-Jos\u00e9e Comello - Second Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"ETA est une abr\u00e9viation utilis\u00e9e dans l'aviation et signifie \"Estimated Time of Arrival\" (heure d'arriv\u00e9e pr\u00e9vue).<\/p>\r\n

ETA 24.06 fait donc r\u00e9f\u00e9rence \u00e0 une heure d'arriv\u00e9e fictive.<\/p>\r\n

Pour ce travail, je me suis int\u00e9ress\u00e9e au \"Meantime\", le moment entre l'\u00e9veil et le sommeil, la zone cr\u00e9pusculaire entre le jour et la nuit.<\/p>\r\n

Cela fait r\u00e9f\u00e9rence \u00e0 l'incapacit\u00e9 de retenir le temps, qui est insaisissable lorsque l'on veut le saisir.<\/p>\r\n<\/td>\r\n

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Les recherches sur notre pass\u00e9 et notre avenir nous fournissent des connaissances qui nous permettent de comprendre notre place dans le temps et l'espace.<\/p>\r\n

Ma recherche porte sur la perturbation de ce savoir, \u00e0 partir de la fascination pour les fragments ; je suis curieuse des parties absentes, des histoires encore inachev\u00e9es et surtout du vide qu'un fragment porte en lui.<\/p>\r\n

Il s'agit de la fronti\u00e8re entre le connu et l'inconnu, la zone cr\u00e9pusculaire.<\/p>\r\n

Il y a le silence sur la ligne de partage des significations\". (Marie-Jos\u00e9e Comello)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Prix and R\u00e9compenses 2020<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale de la C\u00e9ramique de Taiwan (8\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68341\" align=\"aligncenter\" width=\"481\"]\"\" \"Contained Chrysanthemum\" (2019), porcelain, by Susan Beiner.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Susan Beiner - Grand Prix<\/h3>\r\n

Page membre<\/a><\/p>\r\n

\"Contained Chrysanthemum<\/em> fait partie d'une s\u00e9rie de pi\u00e8ces murales construites en utilisant la g\u00e9om\u00e9trie florale tout en s'appuyant sur des concepts d'histoires li\u00e9es \u00e0 l'histoire de l'art.<\/p>\r\n<\/td>\r\n

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La nature et la culture mat\u00e9rielle sont des sujets d'inspiration depuis des si\u00e8cles. Depuis les temps les plus recul\u00e9s, les hommes ont trouv\u00e9 un d\u00e9fi dans le monde naturel. Les fleurs et leur symbolique sont une construction de la r\u00e9alit\u00e9. L'art n'est jamais une dict\u00e9e de la r\u00e9alit\u00e9, c'est une construction. La nature a sa propre transcription, traduite \u00e0 travers le filtre de nos propres histoires.\" (Susan Beiner)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_68301\" align=\"alignnone\" width=\"2048\"]\"\" \"nwc1904\" by Naoki Kato[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\u00a0Naoki Kato - Prix en Or<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"La poterie est fragile. Mais c'est ce qui la rend belle.<\/p>\r\n

L'une des caract\u00e9ristiques de la poterie est que, quelle que soit la duret\u00e9 apparente du mat\u00e9riau, il est cassable. C'est dans cette optique que j'ai r\u00e9alis\u00e9 une pi\u00e8ce en c\u00e9ramique qui semble pouvoir \u00eatre bris\u00e9e d'un simple toucher.<\/p>\r\n

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Les os des animaux vert\u00e9br\u00e9s prennent diff\u00e9rentes formes afin d'exercer chaque mouvement et chaque fonction. Le squelette d'un animal est un indice qui repr\u00e9sente son animalit\u00e9, son identit\u00e9. En cr\u00e9ant un cadre d\u00e9licat qui prend la forme d'un r\u00e9cipient, j'exprime la nature m\u00eame de la poterie fragile.\" (Naoki Kato)<\/td>\r\n<\/tr>\r\n
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Prix et R\u00e9compenses 2019<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale Internationale de C\u00e9ramiques Artistiques d'Aveiro (15\u00e8me Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68534\" align=\"alignnone\" width=\"787\"]\"\" \"Come foglie al vento\" by Sara Dario.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Sara Dario - Premier Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"Sara construit ses photosculptures comme un r\u00e9alisateur monte un film. Elle rep\u00e8re les sc\u00e8nes, les fixe sur la c\u00e9ramique en les assemblant en longues bandes, \u00e0 travers lesquelles elle compose finalement une narration homog\u00e8ne. La pi\u00e8ce qui en r\u00e9sulte est donc structur\u00e9e par la superposition articul\u00e9e de bandes de c\u00e9ramique qui \u00e9voquent les films analogiques d'autrefois, empil\u00e9s de mani\u00e8re chaotique. [...]<\/p>\r\n<\/td>\r\n

\u00c0 premi\u00e8re vue, les \u0153uvres peuvent appara\u00eetre comme des vases ordinaires, mais un regard plus attentif r\u00e9v\u00e8le le niveau narratif, rendu lisible gr\u00e2ce \u00e0 une double vision de l'\u0153uvre, interne et externe, qui guide l'observateur le long du d\u00e9roulement des bandes de mani\u00e8re circulaire et ascendante, de bas en haut.\" (Lorenzo Fiorucci)<\/td>\r\n<\/tr>\r\n
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Prix et R\u00e9compenses 2017<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Blanc de Chine International Ceramic Art Award (1\u00e8re \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_57663\" align=\"alignnone\" width=\"1772\"]\"\" \"Remains of mountain and river\", discarded honeycomb ceramics, 2017.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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JIANG Yanze - Premier Prix<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab Cette s\u00e9rie de travaux est r\u00e9alis\u00e9e \u00e0 partir de c\u00e9ramiques industrielles alv\u00e9olaires mises au rebut, montrant la beaut\u00e9 g\u00e9om\u00e9trique pr\u00e9sent\u00e9e par les structures uniques de ce mat\u00e9riau. Je d\u00e9construis les pi\u00e8ces mises au rebut et les assemble d'une autre mani\u00e8re, pour interpr\u00e9ter les panoramas naturels qui sont constamment d\u00e9vor\u00e9s par le paysage urbain.<\/p>\r\n<\/td>\r\n

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\u00c0 l'\u00e8re de l'industrialisation, les villes sont les symboles du progr\u00e8s de la civilisation, et en m\u00eame temps, elles sont le r\u00e9sultat de la s\u00e9paration continue de l'homme et de la nature. Pour chaque pas que l'humanit\u00e9 fait vers la civilisation, l'int\u00e9grit\u00e9 de la nature est un peu \u00e9br\u00e9ch\u00e9e. En ville, les gens s'efforcent de recr\u00e9er des paysages naturels qui ont d\u00e9j\u00e0 disparu. Mais il ne reste que les vestiges des montagnes et des rivi\u00e8res qui sont en train de se dissoudre. \u00bb (JIANG Yanze)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_31158\" align=\"alignleft\" width=\"3000\"]\"\" \"Esprit \/ Spirit\", porcelaine, grav\u00e9e et tourn\u00e9e, 1290 degr\u00e9s, 2017.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marc Leuthold - Second Prix<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab Cette sculpture se compose de quatre objets en c\u00e9ramique pr\u00e9sent\u00e9s par rapport \u00e0 deux bases en bois. Cette pi\u00e8ce est donc un ensemble unifi\u00e9 dans sa th\u00e9matique et par les m\u00e9dias utilis\u00e9s. Historiquement, les porcelaines chinoises blanches en France \u00e9taient mont\u00e9es sur des bases ormolu de bronze et en Chine dans la dynastie Qing sur des bases en bois sculpt\u00e9. Mes porcelaines sont pr\u00e9sent\u00e9es de mani\u00e8re compatible avec ce contexte historique. L'objet principal de l'ensemble est une roue sculpt\u00e9e cannel\u00e9e. Sur le c\u00f4t\u00e9 avant de la roue se trouve une image de silhouette du prototype d\u2019une t\u00eate f\u00e9minine. De l\u2019autre c\u00f4t\u00e9, on peut distinguer plus difficilement une t\u00eate de dragon et une queue incurv\u00e9e inspir\u00e9e par les jades chinoises de la p\u00e9riode des Etats en Guerre (475-221 av. J.-C.)<\/p>\r\n<\/td>\r\n

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Le disque circulaire qui l\u2019accompagne verticalement ressemble un peu aux disques bi jade avec lesquels les chinois enterraient leurs morts. C\u2019\u00e9tait un talisman pour que les d\u00e9funts profitent de la vie apr\u00e8s la mort. Devant ces deux grandes formes circulaires, il y a un petit bol d'offrande et l'impression de l'int\u00e9rieur de ma main, source de tout le travail de ma vie. \u00abEsprit\u00bb, fait de porcelaine Dehua lors d'une r\u00e9sidence de Blanc de Chine est une repr\u00e9sentation de diff\u00e9rentes \u00e9nergies universelles. La silhouette et le dragon sont un peu comme les \u00e9nergies d\u2019Apollo et de Dionysos de Nietzsche dans La Naissance de la Trag\u00e9die, un travail controvers\u00e9 qui a \u00e9t\u00e9 vilipend\u00e9 et admir\u00e9 depuis sa premi\u00e8re publication en 1872. Dans leurs \u00e9nergies oppos\u00e9es, ils sont simultan\u00e9ment cr\u00e9atifs et destructeurs, et c'est sur ce chemin que l'artiste doit s'engager. \u00bb (Marc Leuthold)

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\u00a0<\/td>\r\n<\/tr>\r\n
\"\"\"Sea Flower\". Photo: Raffaele Tassinari<\/span><\/td>\r\n<\/tr>\r\n
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Martha Pachon Rodriguez - 3\u00e8me Prix<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab\u00a0L\u2019artiste \u00e9voque l\u2019int\u00e9riorit\u00e9 d\u2019un monde marin peupl\u00e9 d\u2019une faune et d\u2019une flore myst\u00e9rieuses et inconnues. Les lignes sont pures, enveloppantes, mais le mat\u00e9riau et la technique utilis\u00e9s sont complexes. Martha Pachon Rodriguez proc\u00e8de par assemblage de petits fragments de terre, fa\u00e7onn\u00e9s \u00e0 la main avec patience et m\u00e9ticulosit\u00e9.

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Elle joue \u00e9galement avec les ouvertures et les perforations. Elle s\u2019est inspir\u00e9e de techniques asiatiques anciennes telles que les incrustations de style Nerikomi, en travaillant la porcelaine pigment\u00e9e. Son utilisation du bleu \u00e9voque les d\u00e9cors de la p\u00e9riode Ming. La cr\u00e9ation de ces pi\u00e8ces est un \u00e9v\u00e9nement sous forme de voyage, qui inclut une dimension sacr\u00e9e : un rite magique, cathartique, faisant partie d\u2019un \u00e9v\u00e9nement intellectuel et conceptuel qui demande du temps et beaucoup de patience, de comp\u00e9tence et de joie. \u00bb (Claudia Casali, Directrice du Mus\u00e9e International de la C\u00e9ramique \u00e0 Faenza)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale Internationale de Cluj (3\u00e8me Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_57703\" align=\"alignnone\" width=\"1024\"]\"\" \"In-visible cities X\", Porcelain slip casting with print, 2014.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\u00d6m\u00fcr Tokg\u00f6z\u00a0- Prix d'Excellence<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab J'aime penser aux villes.
Elle contient diff\u00e9rents visages de diff\u00e9rentes cultures, y compris son histoire.
C'est comme un reflet de la pens\u00e9e humaine. Elle nous dit ce que nous sommes.
J'ai essay\u00e9 de montrer deux visages diff\u00e9rents comme la ville et son ombre. \u00bb (\u00d6m\u00fcr Tokg\u00f6z)<\/p>\r\n<\/td>\r\n

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\"\" \"Mountain\".<\/span><\/td>\r\n<\/tr>\r\n
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Velimir Vukicevic - Prix d'Excellence<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab L'art consiste \u00e0 cr\u00e9er des objets qui ont leur propre formule et parlent leur propre langage, cr\u00e9ant un dialogue qui n'existait pas auparavant.

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En cr\u00e9ant et en peignant les nuages au-dessus des montagnes, je voudrais exprimer l'id\u00e9e de la fugacit\u00e9, de l'impermanence, du mouvement et du changement comme ph\u00e9nom\u00e8nes fondamentaux de la vie. Un nuage, en tant que forme facilement changeante, est un r\u00eave flottant, un mod\u00e8le pratique qui provoque notre imagination. \u00bb (Velimir Vukicevic)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\"\"<\/h3>\r\n\"The Archeology of Memory: Books of Fire\". Photo: Vlad Basarab<\/span><\/td>\r\n<\/tr>\r\n

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Vlad Basarab - Prix d'Excellence<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab L\u2019installation \"Books of Fire\" repr\u00e9sente la culture comme fondement de la civilisation, symbolis\u00e9e par l\u2019utilisation de terres cuite et crues dans la construction d\u2019un site arch\u00e9ologique similaire \u00e0 une biblioth\u00e8que arch\u00e9typale constitu\u00e9e de livres en c\u00e9ramique. J\u2019ai choisi de faire r\u00e9f\u00e9rence aux livres car ils repr\u00e9sentent les symboles historiques du savoir et de la m\u00e9moire collective. Ces livres sont symboliquement vierges de toute \u00e9criture pour sugg\u00e9rer l\u2019absence, l\u2019oubli et amener le regardant \u00e0 imaginer ce qu\u2019ils pourraient contenir. Les livres sont les symboles, les instruments de la m\u00e9moire.<\/p>\r\n<\/td>\r\n

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Depuis les d\u00e9buts de l\u2019Histoire, un lien fort unit les mots et la terre, les premiers t\u00e9moignages de l\u2019\u00e9criture ayant pris la forme de tablettes d\u2019argile. Le pass\u00e9 joue un r\u00f4le important dans mon processus cr\u00e9atif. Je con\u00e7ois mon activit\u00e9 d\u2019artiste comme consistant \u00e0 creuser les strates de l\u2019histoire \u00e0 la mani\u00e8re d\u2019un arch\u00e9ologue, dans le but de rem\u00e9dier \u00e0 la perte de m\u00e9moire collective. La notion de temps historique et de permanence, manifest\u00e9e par ces livres c\u00e9ramiques, fait contraste avec la fragilit\u00e9 de la culture et du savoir. Dans le contexte historique du 20\u00e8me si\u00e8cle, durant lequel des syst\u00e8mes id\u00e9ologiques et totalitaires ont op\u00e9r\u00e9 la destruction massives de livres consid\u00e9r\u00e9s r\u00e9actionnaires, l\u2019installation attire l\u2019attention sur le besoin humain de sauver le pass\u00e9 \u00e0 travers une arch\u00e9ologie de la m\u00e9moire. \u00bb (Vlad Basarab)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale Internationale de la C\u00e9ramique Cor\u00e9enne \/ KICB (9\u00e8me Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_28819\" align=\"alignnone\" width=\"300\"]\"\" \"Tube Sculpture\". Photo: J\u00f8rn Hagen[\/caption]\r\n<\/td>\r\n\r\n

Torbj\u00f8rn Kvasb\u00f8 - Grand Prix<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab Artisanat et mat\u00e9riaux, mains, doigts et yeux se coordonnent de fa\u00e7on ludique pour g\u00e9n\u00e9rer des reflections visuelles signifiantes et de nouveaux savoirs. Les formations et effets de surface qui se d\u00e9veloppent sont souvent d\u00e9routants, ambigus, imm\u00e9diats et bouleversants \u2013 \u00e0 la fois beaux et r\u00e9pulsifs. Tous ces \u00e9l\u00e9ments s\u2019articulent pour cr\u00e9er un ensemble lisible \u2013confrontations, proportions et pr\u00e9cision forment un \u00e9quilibre parfait: comme un coup de poing frappant le plexus solaire. Le processus demeure un dialogue continu entre connaissance, pratique et r\u00e9flexion absolument critique. \u00bb (Torbj\u00f8rn Kvasb\u00f8)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\"\" \"Whitepoeming , \u767d\u8272\u541f\u904a\"<\/span><\/td>\r\n<\/tr>\r\n
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Wonjae Jo - Prix en Or<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab En r\u00e9alisant \"Whitepoeming\", je me suis concentr\u00e9e sur les r\u00e9cipients individuels rassembl\u00e9s en harmonie pour cr\u00e9er un beau paysage.<\/p>\r\n<\/td>\r\n

Vu de loin, la lumi\u00e8re et l'ombre des surfaces courbes d'un groupe de dix r\u00e9cipients en porcelaine blanche donnent \u00e0 l'ensemble l'aspect d'une for\u00eat avec diff\u00e9rents types d'arbres qui se d\u00e9placent calmement et doucement comme sous l'effet d'une brise l\u00e9g\u00e8re. Ce mouvement subtil r\u00e9v\u00e8le au spectateur un autre aspect de la beaut\u00e9 de cette \u0153uvre en l'observant et en appr\u00e9ciant ses d\u00e9tails. \u00bb (Wonjae Jo)<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_57296\" align=\"alignnone\" width=\"2560\"]\"\" \"Excavation\" by So Ling Yuen[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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So Ling Yuen - Prix en Argent<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab Excavation est \u00e0 la fois un processus de travail et un processus de la vie de l'artiste.<\/p>\r\n

Dans la tradition, la c\u00e9ramique bris\u00e9e est vou\u00e9e \u00e0 l'\u00e9chec en raison d'une exp\u00e9rience et d'une comp\u00e9tence insuffisantes. Mon \u0153uvre d'art, au contraire, est une perc\u00e9e car \"cass\u00e9\" est mon choix pour former une sculpture.<\/p>\r\n<\/td>\r\n

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Ma pratique consistant \u00e0 fa\u00e7onner couche par couche des c\u00e9ramiques cuites \u00e0 haute temp\u00e9rature cr\u00e9e une structure distincte qui non seulement d\u00e9finit mon \u0153uvre, mais rompt \u00e9galement avec le mod\u00e8le traditionnel. \u00bb (So Ling Yuen)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_68502\" align=\"alignnone\" width=\"2048\"]\"\" \"nwc1601\" by Naoki Kato.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Naoki Kato - Prix en Bronze<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"La poterie est fragile. Mais c'est ce qui la rend belle.<\/p>\r\n

L'une des caract\u00e9ristiques de la poterie est que, quelle que soit la duret\u00e9 apparente du mat\u00e9riau, il est cassable. C'est dans cette optique que j'ai r\u00e9alis\u00e9 une pi\u00e8ce en c\u00e9ramique qui semble pouvoir \u00eatre bris\u00e9e d'un simple toucher.<\/p>\r\n<\/td>\r\n

Les os des animaux vert\u00e9br\u00e9s prennent diff\u00e9rentes formes afin d'exercer chaque mouvement et chaque fonction. Le squelette d'un animal est un indice qui repr\u00e9sente son animalit\u00e9, son identit\u00e9. En cr\u00e9ant un cadre d\u00e9licat qui prend la forme d'un r\u00e9cipient, j'exprime la nature m\u00eame de la poterie fragile.\" (Naoki Kato)<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
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Biennale Internationale de C\u00e9ramiques Artistiques d'Aveiro (14\u00e8me Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\"\" \"A Long Walk to Freedom\", gr\u00e8s blanc, moules, 1280 degr\u00e9s, 2016.<\/span><\/td>\r\n<\/tr>\r\n
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Yola Vale - 3\u00e8me Prix<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

\u00ab Long Walk to Freedom est l'une des \u0153uvres les plus audacieuses de la s\u00e9rie \"Fragmentos Suspensos\". Ambitieuse par sa composition et sa taille, l'\u0153uvre cherche \u00e0 refl\u00e9ter la dure r\u00e9alit\u00e9 \u00e0 laquelle sont confront\u00e9s les r\u00e9fugi\u00e9s du monde entier au cours de leur long chemin vers un refuge s\u00fbr. Ceux qui fuient les conflits, la faim, la d\u00e9solation extr\u00eame ; ils s'aventurent sur un chemin \u00e9pineux o\u00f9 l'espoir est la seule motivation.<\/p>\r\n

 <\/p>\r\n<\/td>\r\n

Un chemin qui est un coup dans le noir, une roulette russe o\u00f9 l'on joue la vie, car rester, c'est savoir qu'elle est d\u00e9j\u00e0 condamn\u00e9e. Une \u0153uvre qui entend simultan\u00e9ment servir d'analogie \u00e0 la vie de chacun d'entre nous, plus ou moins facile, mais toujours avec des obstacles sur le chemin que nous entendons rendre plus humain. Comme le disait Fernando Pessoa : \"Des pierres sur le chemin ? Je les garde toutes, un jour je construirai un ch\u00e2teau\". Yola Vale a construit une mer agit\u00e9e, un chemin sinueux, un labyrinthe de subterfuges, un appel \u00e0 la conscience. \u00bb<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

 <\/p>","_fr_post_name":"prix-et-recompenses","_fr_post_excerpt":"Cette page est d\u00e9di\u00e9e aux prix et r\u00e9compenses que les membres de l'Acad\u00e9mie remportent lors de prestigieuses comp\u00e9titions internationales.","_fr_post_title":"Prix et R\u00e9compenses","_en_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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The IAC decided to create a new webpage focused on prizes and awards won by our members in the context of prestigious international competitions, starting in 2017.<\/p>\r\n

This is yet another way to promote contemporary ceramics and contribute to making IAC artists more visible.<\/p>\r\n<\/td>\r\n

\r\n

This new webpage will be notably devoted to those distinctions obtained in the context of competitions from partnering institutions of the IAC, such as KOCEF, Mino, Seto, Yingge, Vallauris, etc.<\/p>\r\n

Please send your notice to the IAC Office (office@aic-iac.org) which will take care of the publication.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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The 13th International Ceramics Competition Mino, Japan<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_75127\" align=\"alignnone\" width=\"2500\"]\"\" \"The Kiln\" (2021), clay, glaze, fragments of an electric kiln. Hand-building, 1280\u00b0C.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Ielizaveta PORTNOVA - Grand Prix<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

\"This work is from my abstract zoomorphic series, which I started in 2018. In the works of this series I use both my previously made objects and objects of other authors. Sometimes I work from scraps of old works or from pieces of sculptures made specifically for the project<\/p>\r\n

In the work \u201cKiln\u201d I used the fragments of my kiln. We made this kiln in 2002. Once, one piece exploded during firing and damaged the kiln. By this time, the kiln had completed more than 500 firings. Fragments of a kiln and heating elements were inlaid into this work.<\/p>\r\n<\/td>\r\n

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The original object has its own character and energy. I use this data to develop the source material into the final image. My task is to visualize the history of transformation of the original object into an abstract zoomorphic figure.\" (Ielizaveta Portnova)<\/p>\r\n

-- Now I feel like this beast assembled from the fragments of the past. The past is valuable but painful. War deprives us of our human appearance. --<\/em><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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2024 Taiwan Ceramics Biennale<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73571\" align=\"alignnone\" width=\"2560\"]\"\" \"Loop #12\" by Jing HUANG (USA\/China, IAC member since 2023)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Jing HUANG - Silver Award<\/h3>\r\n

Membre page<\/a><\/span><\/p>\r\n

\u2018Loop\u2019 is a series of works that indicate no beginning or end, but places an emphasis on the winding path itself. Amid the dislocation and ambiguity of being neither here nor there, I anchor myself by tracing my past and taking inspiration from the early memory of my hometown (Guilin)\u2019s landscape after a long departure. \u2018Loop\u2019 is not only a representation of the actual landscape; it mirrors the feelings of respect and appreciation for my past, culture and tradition. It\u2019s a process of seeking a deeper understanding of my identity and experience in the world.<\/p>\r\n<\/td>\r\n

Its Chinese title, '\u56de,' has several meanings in Chinese: to circle, to step back, to turn around, to return. This unique pictographic character not only represents the form of the work but also symbolizes the return to the process itself, celebrating my identity, past, and culture. (Jing HUANG)<\/td>\r\n<\/tr>\r\n
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5th Officine Saffi Award<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73570\" align=\"alignnone\" width=\"2560\"]\"\" \u201cThe Twilight Landscape\u201d (2023) by Hanna Miadzvedzeva (Belarus, IAC member since 2021)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - Residency Prize Gaya Ceramic Arts Center<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

This work is part of a larger series of works called \"Landscapes\" that I've been doing for the last couple of years. In the series, I portray my feelings about the places I visit - new cities and regions, natural places. I especially like observing new landscapes from a bird's eye view, flying over them with an airplane, when forests and fields alternate with each other to create a unique textural pattern. Also a very important aspect of my perception of the surrounding area is light and the nature of its dispersion in space. Twilight is a very specific state, when in a fairly short period of time there is a transcendental transition from bright day to completely dark night.<\/p>\r\n<\/td>\r\n

I heard that this period of the evening is considered the most dangerous for drivers because of the so-called \"twilight blindness\". Everything around us seems to be wrapped in a gray velvet - on the one hand it creates a soft, calming effect, but on the other hand there is a slight feeling of anxiety deep inside, because we are always suspicious of things that are hidden and not obvious. It is in such a state that even familiar places seem quite changed and begin to be perceived as different, unexplored and full of mystery. To convey my sense of the twilight landscape, I chose a self-contained, curved shape that feels like it's hiding something within itself. The structure on the surface, applied in several layers with drops of stoneware slip with a rubber syringe, to create an enveloping, soft and even slightly loose effect. The dark gray color of the object is achieved by adding metal oxides to the stoneware. (Hanna Miadzvedzeva)<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2021<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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The 12th International Ceramics Competition Mino, Japan<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_64303\" align=\"alignnone\" width=\"505\"]\"\" \"Life\" by Vilma Villaverde.[\/caption]\r\n<\/td>\r\n\r\n

Vilma Villaverde - Silver Award<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

\u201cLife\u201d<\/em>: Recovered after being disregarded and lying underground, a piece discovered in the Shigaraki area comes to my hands. It is a urinal burned in a noborigama kiln, that had been cast aside and buried.
Ceramics, enduring noble material, witness of persistence, gave itself to my potter hands to be taken back to life and resume its cycle of life into a work of art after one hundred years' time.
Reborn into a new object, it stands as the torso of a woman holding up the golden trophy of genesis.
It is a woman, as it is ceramics, unutterable symbol of fertility. (Vilma Villaverde)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Korean International Ceramic Biennale (11th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Darien Arikoski-Johnson - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Consciousness is bound to our physicality much like glaze is bound to clay. With which I explore the relationship between consciousness, physicality, and technology. \u00a0 Nonrepresentational bodily forms influence the size and shape of planar components that reside on them, mirroring how physicality affects our cognitive state.\u00a0 Scanned paintings, which reference memories, are digitally manipulated and fuzzed to the surface. Asking how technology influences our memory,\u00a0 perception, and experience of the world.\" (Darien Arikoski-Johnson)<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_68311\" align=\"alignnone\" width=\"1200\"]\"\" \"Fragmented Framing\" by Darien Arikoski-Johnson[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_68337\" align=\"alignnone\" width=\"2185\"]\"\" \"Homunculus LR\" (2020), ceramic and glaze, slab building, by Cho Ming-Shun.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ming-Shun Cho - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Teapots are not merely objects, but episodes. While they are static functional objects on tables, when people use them the connection between organic and inorganic matter is enriching as interaction generates emotion.<\/p>\r\n

While brewing tea, people discover a profound connection with their teapot \u2014 akin to human-pet relationships. A close bond is created in the delicate union between a hand and handle, linked by the heat of life in the teapot. I cherish this relationship between humanity and our utensils.<\/p>\r\n<\/td>\r\n

This symbiosis evolves a teapot\u2019s lifelike characteristics. A teapot and a hand combine to bring out a new life; the hand is a part of the teapot, and the teapot is a part of the hand. This symbiotic relationship is a new relationship between teapots and humans; thus, the teapot has walking feet and emotional motion making them temporal episodes rather than static objects.\" (Ming-Shun Cho)<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
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International Biennale of Artistic Ceramics of Aveiro (16th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68318\" align=\"alignnone\" width=\"2250\"]\"\" \"Big Smile\", 42 x 40 x 21cm, stoneware and porcelain, oxide and pigments, by Ellen van der Woude.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ellen van der Woude - 1st Place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Nature is of fundamental importance. My sculptures are a reflection of my close observation and connection to the natural world, its resilience and fragility, while also acknowledging lost links between humanity and nature.\u00a0\u00a0I pay tribute to the natural world and hope to remind people to slow down, reconnect with nature and contribute to its conservation.\u00a0<\/p>\r\n<\/td>\r\n

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Working intuitively, I combine different clay bodies and porcelain to create imaginative sculptures reminiscent of sub-marine sea life or blooming flora. Rather than relying on glazes, I manipulate textures, stain oxides and colour clay to add visual and tactile interest. All my work is hand built, therefore all pieces are unique.<\/p>\r\n

The Big Smile series were created after a long dark winter. Longing for light and sun I wanted to create something full of happiness and energy, something to make you smile and to remind you of all the good things life has to offer.\" (Ellen van der Woude)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_68329\" align=\"alignnone\" width=\"1700\"]\"\" \"ETA 24.06\" by Marie-Jos\u00e9e Comello. \u00a9 Eric Smeets - Fotografie[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marie-Jos\u00e9e Comello - 2nd Place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\" 'ETA' is an abbreviation used in the aviation and stands for 'Estimated Time of Arrival'.<\/p>\r\n

ETA 24.06 thus refers to a fictional time of arrival.<\/p>\r\n

For this work I was interested in the 'Meantime', the moment between waking and sleeping, the twilight zone between daytime and night time.<\/p>\r\n

It refers to the inability of holding time, which is elusive when you want to grab it.<\/p>\r\n<\/td>\r\n

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Research about our past and future provides us knowledge to enable ourselves to understand our place in time and space.<\/p>\r\n

My search deals with the disturbance of this knowledge, starting from the fascination for fragments; I am curious about the absent parts, the still not finished stories and no less the void that a fragment carries along with it.<\/p>\r\n

It is about the boundary between the known and the unknown, the twilight zone.<\/p>\r\n

There is silence on the dividing line of meanings.\" (Marie-Jos\u00e9e Comello)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2020<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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Taiwan Ceramics Biennale (8th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68341\" align=\"aligncenter\" width=\"481\"]\"\" \"Contained Chrysanthemum\" (2019), porcelain, by Susan Beiner.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Susan Beiner - Grand Prize<\/h3>\r\n

Member's page<\/a><\/p>\r\n

\"Contained Chrysanthemum<\/em>, is from a series of wall pieces constructed utilizing floral geometry while relying on concepts from stories connected to the history of art.\u00a0<\/p>\r\n<\/td>\r\n

Nature and material culture have been subjects of inspiration for centuries.\u00a0 From the earliest times people have found challenge in the natural world. Flowers and their symbology\u2019s are a construction of reality. Art is never a dictation of reality it\u2019s a construction. Nature has its own transcription translated through a filter of our own histories.\" (Susan Beiner)<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_68301\" align=\"alignnone\" width=\"2048\"]\"\" \"nwc1904\" by Naoki Kato[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\u00a0Naoki Kato - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Pottery is fragile. But that makes it beautiful.<\/p>\r\n

One of the pottery\u2019s features is that no matter how hard the material appears, it is breakable. Focusing on this, I have made a ceramic piece which seems like it could be broken with just a touch.<\/p>\r\n<\/td>\r\n

The bones of vertebrate animals take different forms in order to exercise each motion and function. The skeleton of an animal is an index to represent its animal-ness, its identity. By creating a delicate framework that takes the shape of a vessel, I express the very nature of fragile pottery.\" (Naoki Kato)<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2019<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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International Biennale of Artistic Ceramics of Aveiro (15th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68534\" align=\"alignnone\" width=\"787\"]\"\" \"Come foglie al vento\" by Sara Dario.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Sara Dario - First place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Sara constructs her photosculptures like a film director edits a film. She pinpoints the scenes, fixes them onto the ceramic by assembling them into long strips, through which she finally composes a homogeneous narrative. The resulting piece is therefore structured through the articulated overlapping of ceramic strips that evoke the analogue films of old, chaotically piled up films. [...]<\/p>\r\n<\/td>\r\n

At a first glance, the works may appear as ordinary vases, but a closer look reveals the narrative level, made readable thanks to a double vision of the work, internal and external, which guides the observer along the unrolling of the tapes in a circular and ascending way, from the bottom to the top.\" (Lorenzo Fiorucci)<\/td>\r\n<\/tr>\r\n
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Prizes and Awards 2017<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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Blanc de Chine International Ceramic Art Award (1st Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_57663\" align=\"alignnone\" width=\"1772\"]\"\" \"Remains of mountain and river\", discarded honeycomb ceramics, 2017.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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JIANG Yanze - First Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"This series work is made from discarded industrial honeycomb ceramics, showing the geometric beauty presented by the unique structures of this material. I deconstruct the discarded pieces and collage them in another way, to interpret the natural scenery that are constantly devoured by the urban landscape.<\/p>\r\n<\/td>\r\n

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In the era of industrialization, cities are symbols of the progress of civilization, and at the same time, are the outcome of the continuous separation of man from nature. For every step humanity takes towards civilization, the integrity of nature is chipped away a little. In the city, people strive to recreate natural scenery that have already disappeared. But it leaves only the remnants of mountains and rivers that are in the process of dissolving.\" (JIANG Yanze)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_31158\" align=\"alignleft\" width=\"3000\"]\"\" \"Esprit \/ Spirit\", porcelain, carved and turned, 1290 degrees, 2017.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marc Leuthold - Second Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"My submission for the Blanc de Chine competition is \u201cEsprit\/Spirit.\u201d\u00a0 This sculpture consists of four ceramic objects presented in relation to two wooden bases. The piece is therefore a set unified thematically and in media.\u00a0 Historically, white Chinese porcelains in France were mounted on ormolu bronze bases and in China in the Qing Dynasty on carved wooden bases. My porcelains are presented in a manner consistent with this historical context. The major object of the set is a fluted carved wheel.\u00a0 On the front side of the wheel is a silhouette image of a prototypical female head.\u00a0 On the reverse side is a harder to discern dragon head and a curved tail inspired by Warring States period (475-221 BC) Chinese jade carvings.<\/p>\r\n<\/td>\r\n

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The accompanying vertically presented circular disc resembles somewhat, Bi jade discs with which Chinese buried their dead as a talisman for the departed to enjoy afterlife. In front of these two larger circular forms is a small offering bowl and the impression of the inside of my hand, a source of all my life\u2019s work.\u00a0 \u201cEsprit\/Spirit,\u201d made of Dehua porcelain during a Blanc de Chine residency is a representation of different universal energies.\u00a0 The silhouette and dragon are somewhat like Nietzsche\u2019s Apollo and Dionysus energies in The Birth of Tragedy, a controversial work that has been reviled and admired since being first published in 1872. In their oppositional energies, they are simultaneously creative and destructive, and it is this path that the artist must walk.\" (Marc Leuthold)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\"\"\"Sea Flower\". Photo: Raffaele Tassinari<\/span><\/td>\r\n<\/tr>\r\n
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Martha Pachon Rodriguez - Third Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"The artist evokes the interiority of a marine world populated by mysterious and unknown fauna and flora. The lines are pure, enveloping, but the material and technique used are complex. Martha Pachon Rodriguez proceeds by assembling small fragments of earth, shaped by hand with patience and meticulousness. She also plays with openings and perforations.<\/p>\r\n<\/td>\r\n

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She has been inspired by ancient Asian techniques such as Nerikomi style inlays, working with pigmented porcelain. Her use blue evokes the decorations of the Ming period. The creation of these pieces is an event in the form of a journey, which includes a sacred dimension: a magical, cathartic rite, part of an intellectual and conceptual event that requires time and a great deal of patience, skill and joy.\" (Claudia Casali, Director of the International Museum of Ceramics in Faenza)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Cluj International Ceramics Biennale (3rd Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_57703\" align=\"alignnone\" width=\"1024\"]\"\" \"In-visible cities X\", Porcelain slip casting with print, 2014.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\u00d6m\u00fcr Tokg\u00f6z - Award of Excellence<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"I like to think about the cities.
It contains different faces of different cultures, including its history.
This is like a reflection of the human thought. It tells us what we are.
I tried to show two different faces as the city and its shadow.\" (\u00d6m\u00fcr Tokg\u00f6z)<\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
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\"\" \"Mountain\".<\/span><\/td>\r\n<\/tr>\r\n
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Velimir Vukicevic - Award of Excellence<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"Art is about creating object that have formula of its own and speak their own language, creating a dialogue that did not exist before.


<\/p>\r\n<\/td>\r\n

\r\n

Making and painting the clouds over mountains I would like to express the idea of transience, impermanence, movement and changeability as basic phenomena of life. A cloud as easy changing form is floating dream, handy template that provokes our imagination.\" (Velimir Vukicevic)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\"\"
\"The Archeology of Memory: Book of Fire\". Photo: Vlad Basarab<\/span><\/em><\/td>\r\n<\/tr>\r\n
\r\n

Vlad Basarab - Award of Excellence<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"The installation Books of Fire represents culture as the foundation of civilization, symbolized by the use of fired and un-fired clay in the construction of an archaeological site in the likeness of an archetypal library with ceramic books. I have chosen to reference books because they are historic symbols of knowledge and collective memory. The books are symbolically left unwritten to suggest the absence, forgetting and to inspire the viewer to imagine what they may contain. Books are symbols, instruments of memory.<\/p>\r\n<\/td>\r\n

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From the beginning of history, there has been a strong connection between words and clay, as early forms of writing were on clay tablets. The past plays an important role in my creative process. My role as an artist is to dig through layers of history like an archaeologist in the attempt to recover the loss of collective memory. The notion of historic time and permanence, apparent in the ceramic books, appears in contrast with the fragility of culture and knowledge. In the historical context of the 20th century when ideological and totalitarian systems have led to the mass-destruction of books considered reactionary, the installation brings to attention the human need to save the past through an archaeology of memory.\" (Vlad Basarab)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/tr>\r\n
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Korean International Ceramic Biennale (9th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_28819\" align=\"alignnone\" width=\"300\"]\"\" \"Tube Sculpture\". Photo: J\u00f8rn Hagen[\/caption]\r\n<\/td>\r\n\r\n

Torbj\u00f8rn Kvasb\u00f8 - Grand Prize<\/h3>\r\n

Member's page<\/a>\u00a0<\/span><\/p>\r\n

\"Craftsmanship and materials, hands, fingers and eyes, are playfully coordinated to generate meaningful visual reflections and new knowledge. The formations and surfaces that occur are often disturbing, ambiguous, immediate and overwhelming \u2013 both beautiful and repulsive. All are combined to create a readable whole \u2013 the encounters, proportions and precision striking a perfect balance: like a killer punch to the solar plexus. The process remains a continuous dialogue between knowledge, practice and cruel critical reflection.\u201d (Torbj\u00f8rn Kvasb\u00f8)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\"\" \"Whitepoeming , \u767d\u8272\u541f\u904a\"<\/span><\/td>\r\n<\/tr>\r\n
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Wonjae Jo - Gold Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\"In making Whitepoeming, I focused on individual vessels gathered together in harmony to create one beautiful landscape.<\/p>\r\n<\/td>\r\n

Seen from a distance, the light and shadow of the curved surfaces of a group of ten white porcelain vessels make the assembly appear as a forest with different types of trees that move calmly and gently as if on the gentle breeze. Such subtle movement reveals yet another aspect of beauty of this work to the viewers through the process of observing and appreciating details of this piece.\"\u00a0(Wonjae Jo)<\/td>\r\n<\/tr>\r\n
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\"\"\u00a0\"Excavation\"<\/span><\/span><\/td>\r\n<\/tr>\r\n
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So Ling Yuen - Silver Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n

\u201c Excavation is both a process of work and a process of artist\u2019s life.<\/p>\r\n

In tradition, the broken ceramics is doomed as a fail because of inadequate experience and skill.\u00a0 My artwork, on the contrary, is a breakthrough as \u201cbroken\u201d is my choice in order to form a sculpture.<\/p>\r\n<\/td>\r\n

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My practices of shaping layer by layer of high-fired ceramics creates the distinct structure that not only defines my artwork but also breaks through the traditional pattern.\" (So Ling Yuen)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_68502\" align=\"alignnone\" width=\"2048\"]\"\" \"nwc1601\" by Naoki Kato.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Naoki Kato - Prix en Bronze<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Pottery is fragile. But that makes it beautiful.<\/p>\r\n

One of the pottery\u2019s features is that no matter how hard the material appears, it is breakable. Focusing on this, I have made a ceramic piece which seems like it could be broken with just a touch.<\/p>\r\n<\/td>\r\n

The bones of vertebrate animals take different forms in order to exercise each motion and function. The skeleton of an animal is an index to represent its animal-ness, its identity. By creating a delicate framework that takes the shape of a vessel, I express the very nature of fragile pottery.\" (Naoki Kato)<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
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International Biennale of Artistic Ceramics of Aveiro (14th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\"\" \"A Long Walk to Freedom\", white stoneware, moulds, 1280 degrees, 2016.<\/span><\/td>\r\n<\/tr>\r\n
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Yola Vale - 3rd Prize<\/h3>\r\n

Member's page<\/span><\/a><\/p>\r\n


Long Walk to Freedom is one of the boldest works in the \"Fragmentos Suspensos\" series. Ambitious in composition and size, the work seeks to reflect the harsh reality faced by refugees from around the world on their long journey to a safe haven. Those fleeing conflict, hunger, extreme desolation; they venture on a thorny path where hope is the only motivation.<\/p>\r\n

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A path that is a shot in the dark, a Russian roulette where life is gambled, because to stay is to know that it is already doomed. A work that simultaneously intends to serve as an analogy for the life of each of us, more or less easy, but always with obstacles on the way that we intend to make more human. As Fernando Pessoa said: \"Stones on the road? I'll keep them all, one day I'll build a castle\". Yola Vale has built a rough sea, a winding path, a labyrinth of subterfuges, a call to consciousness.<\/td>\r\n<\/tr>\r\n
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\u00a0<\/h3>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

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