Franz Josef Altenburg
Sprout Arte
Heidi Bach Hentze
Pavel Banka
Sarah Bartmann
Dylan Bowen
Theodora Chorafas
Anne Courier
Michael Cleff
Clémentine Dupré
Hans Fischer
Lázlo Fekete
Jennifer Forsberg
Zsuzsa Füzesi-Heierli
Tomoko Fujisaki
Eirik Gjedrem
Reinhilde van Grieken
Joop Haring
Simon Horn
Myriam Jiménez Huertas
Kirsten Jäschke
Motoko Katsuta
Hyunjin Kim
Anna Dorothea Klug-Faßlrinner
Mie Kongo
Torbjørn Kvasbø
Oyekan Lawson
Klaus Lehmann
Sunbin Lim
Deirdre McLoughlin
Michael Moore
Christoph Möller
Yuriy Musatov
Janina Myranova
Johannes Nagel
Svein Narum
Pit Nicolas
Juan Orti
Rafa Pérez
Valda Podkalne
Heidi Preuss Grew
Michael Puszczynski
Hasan Sahbaz
Silvia Siemes
József Zsolt Simon
Inger Södergren
Kyra Spieker
Julen Ussia Guillén
Fritz Vehring
Vera Vehring
Jindra Viková
József Zakar
Friederike Zeit
Nataliya Zuban

2014-15, 13x13x21-13x13x25cm, white and coloured unglazed porcelain, fired up to 1275°C oxidation.

József Zsolt Simon | *1973 | Solymár , Ungarn | Intonation 2016


In the case of the creation of an object frozen in a motionless state, we would be saddened if viewers would only witness them as a "dead" sight. Seemingly static statics fail to move viewers and create a sense that the object was born and took shape through work, life, and motion. Viewers have as much chance to link the motionless with its origin and its living motion as it's capable of leaving an impression and reference to the spiritual and living in a petrified object.
These shapes are border-beings capable of recalling the image of simple, microscopic beings - beings with a true medium of moisture, a lifelike, flowing world. They are like the shells of diatoms which in this size display the traits of order evidenced in the kingdom of plants and animals, occasionally imitating the diffuse systems of barren skeletons, branches, or leaves.
The softly manifesting interior, turning to darkness and guarded in a dangerous nest of density and opulence displays an image which recalls the balancing between the existence of plant and animal life. It is a kind of inflorescence which leads to gulf-like inner space similar to the mouths of animals where we are welcomed by an active darkness suggestive of secrets.
Moving inwards from the petals we move along a smoothly rippling liquidity towards the inside of objects, with a rotating-radiating orientation on the outside. We find an imaginary axis in the middle of these two opposing streams. This maintains the unity of the extremes of slowly flowing, inward-bound and sharply cleaving, outward-bound motion. Half of this imaginary axis belongs to a bright space surrounded by petals, whilst the other half is in the dark space of the object's interior.
The white opaqueness highlights a bone-like nature, while the yellow color moves our imagination towards a flower or fruit-like nature. The gray color tends to bring the interior darkness to the forefront.
Such are the results of the fruitful preservation of extremes, the shapes of inexhaustibly renewing radiant beings created through an endeavored aimed at beauty.