ART & PERFORMANCES
Intertwining, 2022 (Ringebu, Norway)
Every year Torbjørn Kvasbø, director of the Centre of Ceramic Art, invites an artist to realize a project in the ‘fjøset’, the old cow stable in the reconverted former farm in which the Centre is located. The ‘fjøset’ is left in its rough, unforgiving state.
Every year Torbjørn Kvasbø, director of the Centre of Ceramic Art, invites an artist to realize a project in the ‘fjøset’, the old cow stable in the reconverted former farm in which the Centre is located. The ‘fjøset’ has kept its rough, unforgiving state. Each artist works with the same 10 tons of clay. Alexandra Engelfriet, invited artist in 2022, choose to turn the dry clay into a thick slurry and mix it with wool from local sheep. This method refers to an age-old practice of mixing clay with straw or another material to use for building. The particular breed of sheep that roams the high plateau above Ringebu during the summer months, feeding on the grasses, reindeer mosses and shrubs that grow there, develop exceptionally long-haired coats to withstand the cold climate in winter. In one movement, that takes one minute, the sheepshearer frees each sheep from its thick winter coat as soon as spring arrives.
Through an intimate process of physical interaction with the materials, the work evolved over the three weeks that Alexandra Engelfriet worked in the space. The resulting installation 'Intertwining' was exhibited from June 5 to September 12, 2022. After drying it has been preserved as a permanent work of art.
Filmmaker Brage Kvasbø made a film of the making process (see Motion).
Filmmaker Brage Kvasbø made a film of the making process (see Motion).
Every year Torbjørn Kvasbø, director of the Centre of Ceramic Art, invites an artist to realize a project in the ‘fjøset’, the old cow stable in the reconverted former farm in which the Centre is located. The ‘fjøset’ is left in its rough, unforgiving state.
Every year Torbjørn Kvasbø, director of the Centre of Ceramic Art, invites an artist to realize a project in the ‘fjøset’, the old cow stable in the reconverted former farm in which the Centre is located. The ‘fjøset’ has kept its rough, unforgiving state. Each artist works with the same 10 tons of clay. Alexandra Engelfriet, invited artist in 2022, choose to turn the dry clay into a thick slurry and mix it with wool from local sheep. This method refers to an age-old practice of mixing clay with straw or another material to use for building. The particular breed of sheep that roams the high plateau above Ringebu during the summer months, feeding on the grasses, reindeer mosses and shrubs that grow there, develop exceptionally long-haired coats to withstand the cold climate in winter. In one movement, that takes one minute, the sheepshearer frees each sheep from its thick winter coat as soon as spring arrives.
Through an intimate process of physical interaction with the materials, the work evolved over the three weeks that Alexandra Engelfriet worked in the space. The resulting installation 'Intertwining' was exhibited from June 5 to September 12, 2022. After drying it has been preserved as a permanent work of art.
Filmmaker Brage Kvasbø made a film of the making process (see Motion).
Filmmaker Brage Kvasbø made a film of the making process (see Motion).
Shedding Skin II, 2021 (France)
"A thick layer of soft, white clay on the floor of my studio was first shaped into a sculptural and undulating ‘landscape’. It was consequently covered with a ‘skin,’ consisting of a thin layer of wool drenched in slip, made from the same white clay, mixed with a glue made of boiled flour. The skin softened the shapes of the clay. When it was dry, I stripped the skin of the clay during a two-day performance. The clay shed its skin." With support of the Mondriaan Fund.
"A thick layer of soft, white clay on the floor of my studio was first shaped into a sculptural and undulating ‘landscape’. It was consequently covered with a ‘skin,’ consisting of a thin layer of wool drenched in slip, made from the same white clay, mixed with a glue made of boiled flour. The skin softened the shapes of the clay. When it was dry, I stripped the skin of the clay during a two-day performance. The clay shed its skin." With support of the Mondriaan Fund.
Shedding Skin, 2021 (France)
"A thick layer of soft, white clay on the floor of my studio was first shaped into a sculptural and undulating ‘landscape’. It was consequently covered with a ‘skin,’ consisting of a thin layer of wool drenched in red clay slip mixed with a glue made of boiled flour. The skin softened the shapes of the clay. After the skin was nearly dry, I stripped the skin of the clay during a two-day performance. The clay shed its skin." With support of the Mondriaan Fund and Ocres Chauvin.
"A thick layer of soft, white clay on the floor of my studio was first shaped into a sculptural and undulating ‘landscape’. It was consequently covered with a ‘skin,’ consisting of a thin layer of wool drenched in red clay slip mixed with a glue made of boiled flour. The skin softened the shapes of the clay. After the skin was nearly dry, I stripped the skin of the clay during a two-day performance. The clay shed its skin." With support of the Mondriaan Fund and Ocres Chauvin.
Immerse Impress Imprint, 2020 (Viervaart, Groede, the Netherlands)
