Eva Zethraeus at gallery Anna H, Gothenburg.
My ‘Artists in Residences’ in Japan have influenced and affected my outlook on the landscape and our environment in a dramatic and liberating way. The Japanese culture, so different to the European culture I grew up in, made my senses receptive to the powerful energy that exists in Japanese contemplative gardens. Large and small; dense and sparse; light and shadow interfuse in a vivid interplay.
Since then I have worked on a series of landscapes in porcelain. The white clay gives me the freedom to stretch the boundaries between large and small. Using line, form and movement, I have examined and searched for ways to mould the energy that exists in the diversity of the landscape: in a small garden; the vast billowing landscape that continues beyond the horizon and the secret, inaccessible landscape beneath the surface of the water.
The landscape we contemplate is reinforced by the surface that reaches the eye, and movement, directions, nuances, textures and light all contribute to our individual preception of the landscape, real and surreal. I have focused on making landscapes as installations. An organic free growth arises from different combinations of clays, fire and glaze qualities.
Underwater landscapes, corals and urchins, flowing surfaces of growth in frozen motion portray the slow ceramic process which is necessary for contemplation and new approaches. Porcelain landscapes, fragments of nature, hills, depths, outgrowths, openings and shadows can be seen or felt. The plasticity of the porcelain clay and the opportunities of expression it yields, fascinate me. The firm but delicate porcelain has an inner strength that intices me to capture organic motion, the bubbling of life, caught in a fragment of a second.
The dry glazes which I like to experiment with are a protest against the pure whiteness of the porcelain surface. They express contradictory meanings – they are both repellent and enticing, warm and cold. They absorb light, but also express their own light and darkness. The forms suggest an upward movement, a growth towards the sky. From above they suggest marine life below the surface, or maybe a map of life itself...
The exhibition; Lustträdgård/ The Garden of Earthly Delights Eva has been inspired by Hieronymus Bosch his triptych painting The Garden of Earthly Delights…
I’m not always delighted at/in ceramics, but Eva Zethraeus ceramics I like a lot and admire and get happy and inspired by, the shapes that come from the water world, the colours and the surfaces and also the way of present them, at walls, at tables and so on… I’m a big fan of Eva’s sculptures or objects. I found the objects size, shapes and colour close to my own way of thinking, I get connected and touched in some way. I also like that it is just for beauties, decoration and not everyday use object, I believe that we all need beauty around us, in our homes and in the public rooms.
IF you have the time, I absolutely recommend you to stop by at Gallery Anna H and have a look, Eva are very very productive and you can feel the happiness of working in this pieces I think, one piece lead you to another… the working process is present.
It was a great article in the Gothenburg newspaper at the same day… I have scanned it, I hope you can take part (it’s is in Swedish, always a little bite tricky should I write everything in English or could I mixed?! I mix it! That’s my way to run this blog, it will be a misch masch of everything…)
Hieronymus Bosch, Jheronimus Bos, nederländska Jeroen Bosch, egentligen Jerome van Aeken (Aquen, Aken), Jeroen Anthoniszoon, född cirka 1450 i 's-Hertogenbosch, död 9 augusti 1516 i 's-Hertogenbosch, var en sengotisk nederländsk konstnär.
Namnet Bosch tog han efter sin hemstad, 's-Hertogenbosch i södra Nederländerna. Han växte upp i en konstnärsfamilj och gick förmodligen i lära hos sin far, Anthonius van Aken.
Merparten av hans verk såldes under hans livstid till det spanska hovet, och finns idag i Spanien och Portugal på slott och museer. Hieronymus koncentrerade sig i sitt måleri mycket på att porträttera ondskan och helvetet, för vilket han använde fantasifulla bilder av demoner, halvmänniskor och maskiner. Hans stil och figurer har en tydlig särprägling och nämns ofta som en av inspirationskällorna för 1900-talets surrealister.
The Garden of Earthly Delights is a triptych painted by the early Netherlandish master Hieronymus Bosch (c. 1450–1516), housed in the Museo del Prado in Madrid since 1939. Dating from between 1490 and 1510, when Bosch was about 40 or 50 years old, it is his best-known and most ambitious work. The masterpiece reveals the artist at the height of his powers; in no other painting does he achieve such complexity of meaning or such vivid imagery.