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2014

 
Anna Sørensen: Vases 2013 H: 55. & 100 cm. Anna Sørensen: Vases 2013 H: 55. & 100 cm.

January 18 - may 25, 2014 Anna Sørensen
Clay Walk


Anna Sørensen is presenting 21 new ceramic works and a number of collages that demonstrate new and challenging ways of developing the characteristic motifs used in her colorful and ornamental paintings.
 
Click here to see images from the exhibition.
 
The basic forms used in the work of Anna Sørensen are simple and geometrical. They are repeated and varied endlessly with built-in surprises and contradictions. Occasionally, organic, flower-like forms are incorporated, adding to the works vibrant and ever-changing ornamentations, which are abstract, non-figurative and stripped of meaning and symbolism.  
 
The vases pose a particular challenge for Anna Sørensen. In the two-dimensional universe of a painting, the ornament stops at the edge of the picture. But the surface of the vase does not have edges, and it has no beginning nor ending. The individual figures in the decorative patterns always have to connect to the ones before and after – all the way round the vase. And no matter from where one looks there will always be a backside – and a unified whole – that one cannot see from a static point of view.  
 
Working with the ceramic material and the specific processes involved naturally also makes other kinds of demands on Anna Sørensen than does painting. Basic shapes are scratched into the surface of the vase. And they are painted on the surface with colored clay, which means that some colors are only visible when the clay is glazed and fired. In addition, the color techniques applied in ceramics do not possess the intensity or density of oil painting and acrylic paint. In some cases, Anna Sørensen cut forms into thin slabs of clay, which are then placed on the surface of the vase, thus forming a relief.
 
Anna Sørensen takes as her starting point two vases that were produced by Kähler in 1890 and 1915. But she does not merely repeat these models. She processes or reworks each vase so that it deviates more or less from the original. When Anna Sørensen has decided on the shape of the ceramic body, it is thrown by a potter.
 
For Anna Sørensen, working with ceramics means an extension of the territory of painting. There is for her a clear interaction between the painting, collage and ceramics. They complement and inspire each other. In the ceramic works – as well as in the collages – she examines what happens to her patterns when the process and the materials are new and different. Obstructions and a certain resistance are inherent in the process, but this also allows for new developments in her art. Entirely new forms sometimes occur, which in turn can give new inspiration to Anna Sørensen’s painterly practice.
 
Therefore the exhibition Clay Walk is not only showing ceramic works. On the walls of the exhibition space Anna Sørensen displays a number of newly produced paper collages. And closely connected with the exhibition there is also a presentation of previous works by Anna Sørensen from the collections of Holstebro Kunstmuseum.
 
The title of the exhibition, Clay Walk, plays on the concept of catwalk – i.e. the podium used at fashion shows. Anna Sørensen’s ceramic ‘models’ are presented on long podiums, side by side, precisely as if they were fashion models on a catwalk. In this staging, the vases enter into a dialogue with each other and the collages. – As well as with the audience, who are encouraged to move around in a sculptural landscape that cannot be overviewed from one position alone, but which is inherently to be seen from several viewpoints.
 
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