Wayne Ngan @ James Cohan Gallery, NYC - "Spirit and Form" Ceramics Exhibition

Wayne Ngan: Spirit and Form

James Cohan Gallery, New York

September 5 — October 4, 2025 

Wayne Ngan 

Yellow Vase with Lugs, 2016, Rust Coloured Vase, 2017 

Yukon Black Jar with Geometric Lugs, c. 2000s, 

Thin Vase with Cast Iron Glaze, 2014, White Vase, 2016 

Photo courtesy of James Cohan Gallery

Wayne Ngan (b. 1937 Guangdong, China - d. 2020 Hornby Island, BC, Canada) is recognized as one of Canada’s premier ceramic artists. Ngan’s lengthy career spanned over six decades. At the age of thirteen, Wayne Ngan moved from Guangdong, China to a vastly different British Columbia, Canada. Wayne Ngan was determined to make a name for himself as an artist despite challenging circumstances. His practice drew influence from traditional Chinese, Korean, and Japanese pottery, as well as Modernist painting, pre-Columbian and ancient Egyptian art. Ngan’s extensive knowledge of these historic precedents and his connection to the natural beauty of Canada’s Hornby Island informed his abstract sculptural forms. This exhibition at James Cohan spotlights a selection of cornerstone works, created in the 1990s and the last decade of the artist’s life.

Inspired by the back-to-the-land movement, popularized in the 1960s and 70s, Wayne Ngan centered his life and artistic practice around a harmonious relationship with the environment anchored in self-sufficiency. Ngan sourced natural materials both to build his home and studio on Hornby Island, and also to fuel his artmaking, experimenting with creating various glazes from clay like Yukon black, a deep noir glaze with high shine. Ngan was committed to exploring process, using the wealth of knowledge he gained from his regular travels to China and Japan as well as independent research to refine techniques such as raku, hakeme (coarse brush decoration), and salt glazing. Waynes Ngan built his forms by throwing and altering pieces of clay, then sculpting them together. He would occasionally fashion elements that extend outwards and generate curvilinear, spouted openings in others. Here, elegantly elongated vessels in earth tones are in dialogue with compact lidded forms, which seem to contain the energy Ngan expended to render them. Their surfaces are varied – ranging from textural and patterned to slick and smooth. According to Wayne Ngan, “There are two ways of looking at pots: one is the actual clay pot, but the real pot to me is all around me—the spirit of the pot.”

Through his work in clay, Wayne Ngan fused East and West, the past and the present, collapsing disparate chronologies and geographies into intimate, evocative objects.

CERAMIC ARTIST WAYNE NGAN

Wayne Ngan studied at the Emily Carr University of Art and Design, formerly the Vancouver School of Art. The influential teachings of British potter Bernard Leach and Soetsu Yanagi, founder of the Mingei, a Japanese folk art movement (prioritizing beauty in the everyday) resonated strongly with ceramic artists in British Columbia, including Wayne Ngan. In 1967, Wayne Ngan settled on Hornby Island, where he lived and worked until his passing in 2020.

Wayne Ngan’s work has been exhibited in numerous solo and group exhibitions since the 1960s at venues including the Vancouver Art Gallery; the National Gallery of Canada; the Gardiner Museum, Toronto; Hanart Art Gallery, Taipei, Taiwan; Nathalie Karg Gallery, New York; the Art Gallery of Greater Victoria; The Apartment in Vancouver; and the American Crafts Museum, Concord, Massachusetts, among others. Ngan’s ceramics are in notable public collections such as the Vancouver Art Gallery, the Montréal Museum of Fine Art, the Gardiner Museum, the National Palace Museum (Taipei, Taiwan), the Art Gallery of Greater Victoria, the Canadian Museum of Civilization, and the Morris and Helen Belkin Art Gallery, University of British Columbia.

JAMES COHAN

48 Walker Street, New York, NY 10013

www.jamescohan.com

Toshiko Takaezu: Bronzes @ James Cohan, NYC

Toshiko Takaezu: Bronzes

James Cohan, New York

May 16 - July 25, 2025

Toshiko Takaezu

Three Graces, ca. 2000s

Cast bronze, left: 78 x 22 in.,

middle: 74 x 21 in., right: 76 x 23 in.

Courtesy the Estate of Toshiko Takaezu

and James Cohan

James Cohan presents an exhibition of monumental sculptures by the late artist Toshiko Takaezu (b. 1922, Pepeekeo, Hawaii - d. 2011, Honolulu, Hawaii) on view at the gallery’s 48 Walker Street location. Toshiko Takaezu was celebrated for her experimental approach to abstraction and form over a lengthy career, which spanned the 1950s into the 2000s. While she is widely known for her painterly ceramics, Takaezu spent three decades mastering the possibilities of bronze. Toshiko Takaezu: Bronzes foregrounds her series of outdoor sculptures in the medium. 

Toshiko Takaezu’s initial foray into bronze was tied to her strong interest in the natural world. Starting in the 1980s, she worked closely with a team of artists and apprentices at the Johnson Atelier in New Jersey to render her creations using the lost-wax casting process. Takaezu’s soaring Stack Forms, ca. 1982-4, were directly inspired by her series of ceramic River Stones: convex circular forms glazed in tones akin to a riverbed of pebbles, such as earthy ochres and soft whites. In the main gallery, tall tree trunks in rich blue and green patinas are cradled by white pebbles and flanked by otherworldly globes. Tree-Man Forest, 1989, is a reverential meditation on both the precarity and resilience of natural life. Takaezu was deeply moved by a trip she took in 1973 to “Devastation Trail” on the Big Island of Hawaii, where she encountered a forest laid bare by the volcanic eruption of Kīlauea Iki in 1959. Toshiko Takaezu paid homage to this transformational event first in clay, and then in bronze, giving permanence to these majestic forms and embedding them into the land. 

The epic Three Graces, ca. 2000s, emits a powerful anthropomorphic presence; one that visitors can engage with as they circumnavigate each form. Takaezu’s first iteration of Three Graces was cast in 1994 and is installed at Grounds For Sculpture in New Jersey. These sculptures echo Takaezu’s classical tall ‘closed forms’ and showcase the artist’s mastery of gesture, visible in her application of dripping chemical patinas in deep blues, blacks and greens. In Greek mythology, the Three Graces were the daughters of Zeus–goddesses of beauty, charm and grace, often depicted together, interlaced in mid-dance The martyred saints Faith, Hope, and Charity, represent three similar theological virtues in Christian theology. These overlapping concepts are embodied in these monumental and undulating bronzes, forever linked as a trio. 

The singular resonant Untitled (Bell), 2004, perfectly concretizes Takaezu’s interest in sound and materiality. It is one of several forms that were inspired by the ceremonial bells of Japanese temples, and is similarly reliant on the strike of a mallet to produce a deep vibrational ring. This imposing bronze bell hangs from a custom interlocking wooden frame designed by the artist. Its dimensional surface resulted from Takaezu pouring hot wax in linear motions over the domed mold prior to its casting; an action that harkens back to her dynamic glazing process. 

Toshiko Takaezu’s achievements in bronze are a testament to her boundless exploration across mediums. Takaezu’s sculptures are monuments that reflect the natural world; fusing gesture and form through material permanence. Toshiko Takaezu: Bronzes unites carefully considered groupings which serve as sites for contemplation that engage the senses.

Born in Pepeekeo, Hawaii in 1922 to Japanese immigrant parents, Toshiko Takaezu first studied at the University of Hawaii, and later at Cranbrook Academy of Art. Toshiko Takaezu was a devoted maker and art educator, having taught at the Cleveland Institute of Art and Princeton University, until her retirement in 1992. She lived and worked in rural New Jersey through the 2000s. Toshiko Takaezu passed away in Honolulu on March 9, 2011. Throughout the artist’s lifetime, her work was exhibited widely in the United States and Japan, including a solo exhibition at the Philadelphia Museum of Art (2004) and a retrospective at the National Museum of Modern Art in Kyoto, Japan (1995). Toshiko Takaezu was the recipient of the Tiffany Foundation Grant (1964) and the National Endowment for the Arts Fellowship (1980), among others. Her work is represented in many notable collections including the DeYoung/Fine Arts Museum of San Francisco, Honolulu Museum of Art, The Metropolitan Museum of Art, New York, Museum of Fine Arts, Boston, and the Smithsonian American Art Museum. Recent exhibitions include the 2022 edition of the Venice Biennale, The Milk of Dreams curated by Cecilia Alemani and presentations at the MFA Boston (2023) and Crystal Bridges Museum of American Art (2024). In March 2024, The Isamu Noguchi Foundation and Garden Museum hosted Toshiko Takaezu: Worlds Within, the first touring retrospective in twenty years. It has traveled to the Cranbrook Art Museum and the Museum of Fine Arts, Houston and will open at the Chazen Museum of Art, University of Wisconsin-Madison (September 8–December 23, 2025) and the Honolulu Museum of Art (February 13–July 26, 2026)

JAMES COHAN

48 Walker Street, New York, NY 10013

www.jamescohan.com

Akinsanya Kambon @ Marc Selwyn Fine Art, Beverly Hills

Akinsanya Kambon

Marc Selwyn Fine Art, Beverly Hills 

April 17 – May 31, 2025

Marc Selwyn Fine Art presents Akinsanya Kambon, the gallery’s first exhibition of work by the artist.

Akinsanya Kambon, born Mark Teemer in Sacramento, California, is a former Marine, Black Panther, and art professor who lives and works in Long Beach. Kambon served in Vietnam as a Marine infantryman and combat illustrator. Upon returning to the U.S., he joined the Sacramento Chapter of the Black Panther Party for Self-Defense and served as its Lieutenant of Culture. Kambon’s lifetime of service and artistic practice document suppressed histories and express the beauty of African heritage through drawing, painting, and sculpture. In 2023, Kambon won the prestigious Mohn Award given by the Hammer Museum for his participation in “Made in LA 2023: Acts of Living”. His life, work, and mission are also the subject of a documentary film “The Hero Avenges” to be released this year. Akinsanya Kambon will be the subject of an upcoming one-person exhibition at the Sculpture Center, New York, in May of 2026.

Akinsanya Kambon’s rich body of work is influenced by his Pan-Africanist beliefs, developed through his extensive travels through Africa beginning in 1974. Kambon explains, “I’ve looked at African spirituality and I like to incorporate what I’ve learned into my own work. My biggest influences have been my travels to Africa.” The show will include ceramic vessels, figures, and wall plaques that combine American historical narratives with African sculptural traditions.

To create his ceramics, Akinsanya Kambon uses a Western version of the Japanese Raku firing technique which adds a metallic luster to his glazed surfaces. This method of firing, which traps smoke in an enclosed space to interact with the glaze, produces an uncontrollable transformation which Kambon considers a spiritually guided aspect of this practice. He conducts kiln firings with a ceremonial approach, infusing life into figures that often embody African deities, spirits, or figures from American or religious history. His work, deeply rooted in narrative tradition and shaped by his personal experiences, celebrates themes of resilience through adversity, cultural pride, and his talent as a storyteller.

In ‘Black Butterfly,’ 2024, for example, Akinsanya Kambon depicts the figure of the Queen Mother butterfly of the Bobo people, who was sent by God to bring rain. In 'The Edler' Kambon portrays a strong warrior with a turtle on his head, a symbol of longevity and wisdom. Other figures are incorporated into vases and vessels, as in ‘Kemetic Gate Keepers’, 2015, where protectors of the spirit world are represented in the vessel’s handles and base.  ‘The Ancestors,’ 2015, tells the story of the first humans on earth alongside the ‘primordial animals’ that preceded us. 

Solo exhibitions include: Jack Shainman Gallery, New York (2022); Crocker Art Museum, Sacramento, (2020); Pan African Art Gallery & Studio, Long Beach, California (1991); and the Oak Park School of Afro-American Thought, Sacramento City College (1969). Recent group exhibitions include those at Rowan University Art Gallery and Museum, Glassboro, NJ, (2025); Hammer Museum, Los Angeles (2023); Oakland Museum of California (2016) and Joyce Gordon Gallery, Oakland (2016). He is the recipient of awards from the National Council on Education for the Ceramic Arts (2022); City of Long Beach (1996, 1994); County of Los Angeles (1994); and California Wellness Foundation, Violence Prevention Initiative (1993).

MARC SELWYN FINE ART

9953 South Santa Monica Boulevard, Beverly Hills, CA 90212

www.marcselwynfineart.com

Ceramist Alain Vernis @ HdM Gallery, Beijing - "Black" Exhibition

Alain Vernis | Black 

HdM Gallery, Beijing

9 April - 10 May 2025

HdM Gallery and Luohan Tang present Black, a solo exhibition by artist ALAIN VERNIS. The exhibition features over a dozen ceramic bowls, focusing on the artist’s exploration and enlightement of ceramics over the years.

Alain Vernis: The charm of simplicity

Alain Vernis's works are mainly pottery bowls. Since he set up his studio in the Haut-Morvan in 1985, he has started to make pottery with local clay. Alain Vernis didn’t learn from a master, he relied on his own exploration from kiln construction to firing. The primitive pit that he used then caused all of the pieces, shaped over ten years, to explode. He had no choice but to give up pit firing and build a new kiln. After years of adjustments, he came to discover the effects of diverse combinations of clay, water, duration of firing, type of wood. Black was once used by Taoism to discribe the invisible and intangible universe, “Darkness within darkness, the gateway to all understanding. ”  Darkness presents color and also the profoundness of Taoism. Alain Vernis uses black extensively in his works, shaping through “renouncement” and firing with “naturalness” . The combination of shape and glaze color explains the charm of simplicity.

 

Alain Vernis: Deep connection with Raku-yaki technique

The famous Raku-yaki technique of the Momoyama period in Japan in the 16th century is characterized by simplicity and naturalness. The seemingly "imperfect" works break the traditional aesthetic system of symmetry and glaze perfection, which is similar to Alain Vernis's works. Starting with a handful of clay, Alain focuses his perception on his hands and slowly kneads the bowl into shape, combining the beauty of form with the beauty of spirit. The surface of the bowl is either smooth or rough, with the glaze color bolding, and even natural flow appears. However, it was not until the 15th generation of Raku-yaki master invited him to Japan that he realized that he had such a deep connection with those masters of several centuries ago.

 

Alain Vernis was born in Sens, France in 1946 and currently lives and works in Morvan. His works have been exhibited in art institutions such as the Biracte Archaeological Museum in Burgundy, Guardian Art Center in China and Musée d‘art Moderne, Musée national de la Céramique, Musée de Bibracte, Musée Asrien Dubouché, Musée Bernard Palissy, Musée de Sarreguemines, Musée Joseph Séchelette in France.

HdM GALLERY

798 East Road, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, 100015 Beijing

hdmgallery.com

Ceramist Fiona Waterstreet @ Maya Froderman Gallery, Jackson Hole - "Vessels" Exhibition

Fiona Waterstreet: Vessels

Maya Froderman Gallery, Jackson Hole

February 14 - March 30, 2025

FIONA WATERSTREET

Untitled, 2024 

Stoneware, 12 x 12 x 19 ½ inches

© Fiona Waterstreet / Courtesy Maya Frodeman Gallery

FIONA WATERSTREET

Untitled, 2024 

Stoneware, 12 x 12 x 19 ½ inches

© Fiona Waterstreet / Courtesy Maya Frodeman Gallery

FIONA WATERSTREET

Untitled, 2024 

Stoneware, 12 x 12 x 19 ½ inches

© Fiona Waterstreet / Courtesy Maya Frodeman Gallery

MAYA FRODEMAN GALLERY presents Vessels, a solo exhibition with English ceramicist FIONA WATERSTREET.

Fiona Waterstreet is a maestro of tactile expression. Having spent her career developing an organic aesthetic, her ceramics convey a distinct humanism in the enduring trace of her hand found in each object. Vessels, her second solo exhibition with Maya Frodeman Gallery, presents fifteen recent ceramic works and five drawings that exemplify Waterstreet’s winsome coalescence of hand-building and drawing.

When Fiona Waterstreet first started working with clay at the Greenwich House Pottery Studio in New York nearly fourteen years ago, she was largely throwing on a wheel. Despite having no previous arts education, and ceramics being a largely ignored branch of the fine arts, she says that she fell in love with the tactility and uncertainty of working with clay. “The art thing started to seep into me,” Waterstreet remembers. She began creating more sculptural objects, bringing a form to life within her hands. Fiona Waterstreet enjoyed the meditative process that begins in water and minerals and ends in anticipation as it transforms within a fiery kiln as she began making abstracted birds and forms from porcelain. “Ceramics are a nut you have to crack,” says Fiona Waterstreet. “There’s an intrigue to it. Every time you open the kiln, you’re surprised.” Since then, Waterstreet has also held solo exhibitions with McClain Gallery of Houston, Texas, and the Drawing Room, East Hampton, New York.

Her newest body of work includes pieces that nod to her earlier practice. One such piece is the stoneware bowl, which was the only work in the exhibition created on a potter’s wheel. Despite this, the bowl finds affinity in her recent work through the expressive, sweeping brushstrokes that dance across its surface. Vessels also includes a set of two small bird forms, bulbous, elegant, and curious. The gentle tilt of the neck, the arch of the back, and the details of the beak: these works, more traditional to Fiona Waterstreet’s oeuvre, show her propensity for capturing the je ne sais quoi of the avian spirit in an organic, abstracted form.

Vessels marks a watershed in Waterstreet’s practice in her ability to go bigger through hand-building, as one monumental vessel stands nearly three feet tall. It was also an exercise of taking the universal form of a vessel and pushing it out of simple functionality, and out of tradition. Many of Waterstreet’s vessels recall those from antiquity, with a subtle cracking to their glaze, caused by Waterstreet’s use of terra sigillata, an ancient Italian method of putting an ultra-refined slip on the clay that tends to crackle in the firing process. Meaning “earth seal,” terra sigillata was used by ancient Greeks and Romans to make vessels watertight, but Fiona Waterstreet experimented with terra sigillata to create surface texture and add color to her works. Other works are subtly carved with leaf motifs. This “drawing” on the surface of her vessels was a novel way for Fiona Waterstreet to imprint her organic aesthetic onto each piece, another way the viewer can see the perennial presence of Waterstreet’s hand. The exhibition brings these works together with her realist pencil drawings. Many of these works were done in 2020, when Fiona Waterstreet, isolated and without her kiln, began drawing portraits of all the people she could not see in person at the time. Her more pastoral location, away from the hustle and bustle of the Soho loft home and studio she shares with her husband, artist John Alexander, inspired her to create studies of bird nests and leaves that later inspired her most recent ceramics.

Fiona Waterstreet’s high relief vessels, whose forms are abstracted and concealed by tangles of leaves, mimic the carvings and motifs of her other works. These works exude a similar air of antiquity as if they were pulled out of a long-forgotten country home enveloped in vines. Working through the abstraction of organic forms, she manages to retain the traditional essence of each object. “It’s the crux of what I do. I have a formality to myself, and I have a formality to my work, but it’s not interesting to me unless I can take it a bit further, unless I can bring abstraction in.” Building each vessel by hand, Fiona Waterstreet relishes in the process of distortion that follows. In working with organic forms and a feminine hand, she creates forms that embody elegance as much as they exude whimsy. As she has honed her distinct style over the past fourteen years, Waterstreet’s practice is one of experimentation, and by proxy, of transmutation. “I often wonder what my work will be like in five years… Really, I feel like I’m in the early stages of my journey.”

MAYA FRODEMAN GALLERY

66 South Glenwood Street, Jackson Hole, Wyoming 83001

www.mayafrodemangallery.com

Kristina Riska @ Galerie Forsblom, Helsinki - "Uncertainties" Exhibition

Kristina Riska: Uncertainties

Galerie Forsblom, Helsinki

November 29, 2024 – January 12, 2025

Kristina Riska’s artistic process harnesses both the delicate malleability and the willful nature of clay. The artist describes herself as battling her material, attempting to achieve the impossible, which is why she was unsure until the last minute before the show’s opening how many of her sculptures would survive intact. When working with clay, one must humble oneself before the material – clay insists upon writing its own narrative. Its size and shape are transformed during firing in the kiln, as are the textures and colors imparted by glazes, thus conferring a key role to chance in the birthing process of ceramic art.

As an entirely new feature in Riska’s art, many of her recent sculptures are propped on struts, some resembling Japanese wooden geta sandals, others rounder like wheels or pompoms. By resting her sculptures on inbuilt pedestals, Kristina Riska has freed up wholly new avenues of expression in her construction of form. Each sculpture tells its own mini-story, and the titles hint at the underlying meanings in subtle, oblique ways. Instead of having a clear uniting theme, the sculptures in this exhibition were created intuitively, in states of mind ranging from joy to sorrow. They are richly diverse in style, yet each one has a counterpart or companion piece with which it engages in dialogue, creating cohesion within the exhibition.

Working with clay is just as inspiring to Kristina Riska today as it was forty years ago. She describes it as a huge privilege and gift. At the heart of her process is her desire to distill her craft to its purest essence – to strip everything down to the essentials and achieve total integrity of expression. While immersed in a project, she avoids looking at the work of other artists and strives to concentrate purely on her own creative process.

Kristina Riska (b. 1960) is one of Finland’s most internationally renowned ceramic artists. Her studio is based on the premises of the Arabia Art Department Society in Helsinki. She has won international awards and has exhibited her work everywhere, from the United States to Denmark and Japan. Her sculptures are held in numerous international private collections, as well as the collections of the Saastamoinen Foundation and the Finnish and Swedish governments.

GALERIE FORSBLOM

Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com

Lesley Vance, Ken Price @ Xavier Hufkens, Brussels - "Fired and painted" Exhibition

Lesley Vance, Ken Price

Fired and painted

Xavier Hufkens, Brussels

24 November 2023 — 3 February 2024

Fired and painted brings together a recent series of paintings by Lesley Vance (b. 1977) and a group of ceramic sculptures by Ken Price (1935-2012). Two American artists of different generations and disciplines but whose abstract works share a number of affinities. Taking scale as a departure point, Vance has pushed her practice in new directions for this exhibition, her fifth with the gallery. The presentation not only includes her largest canvas to date but also some of her smallest, together with an ensemble of medium-format paintings. Through the interplay of scales and volumes, Fired and painted suggests resonances between the different art forms and opens up a dialogue on the themes of colour, surface, form and spatiality.

Lesley Vance has long been fascinated by the relationship between ceramics and painting, both of which involve the application of fluid mediums onto neutral supports. Moreover, she also cites Ken Price as a key source of inspiration. A relentless innovator in the field of ceramic sculpture, Price is best known for his biomorphic forms that he finished, from the 1980s onwards, with acrylic paint instead of traditional glazes. Typically applying up to seventy layers of pigment and multiple colours to each work, he sanded these down to create striking, mottled effects. Colour is one of the key themes that links these two artists: both artists use its material qualities and allow it to determine their work in a physical and expressive sense.

Price and Vance also focus on reduction as a means of creation. Vance, who is interested in synergy and dissonance, often restricts her palette to a handful of shades in order to explore their full, tonal potential. In terms of composition, too, the act of removal is as important as the constructive process. She likens it to a form of ‘reverse collage’. Price, on the other hand, condensed a broad spectrum of colours into hues that read, from a distance, as a uniform colour value. He said: “Colour has been an integral part of most of the work I’ve made, but there’s not much to say about it. Colour is complete in itself. It doesn’t need any support from art, representation, language, or anything else. It’s hard to control... Colour conveys emotion, but you can’t really control that either.” Vance’s paintings, in which colour functions autonomously on both a structural and atmospheric level, echo this sentiment.

Both of the artists’ oeuvres revolve around movement. Price’s sculptures have a fluid, molten-like quality—as if a thick, viscous liquid has been stopped mid-pour. Vance’s paintings are dynamic compositions in which shapes and colours are indivisibly and inexplicably linked: they advance and recede, emerge and disappear, separate and converge. Price’s and Vance’s works are neither static nor lifeless. Both convey the idea of arrested movement in their art, as though motion has been temporarily suspended rather than permanently ended. And the roots of their practices, while abstract, ultimately lie in reality: Price found inspiration in the strange alien-like rock forms and ancient pottery of New Mexico, while an arrangement of objects, a glazed ceramic surface, or even another painting can all be catalysts for the gestures and shapes that determine the course of Vance’s paintings.

Price developed a highly personal approach to process and materials, and the same is true of Vance. His sculptures are flawlessly finished, inscrutable and luminous, and reveal nothing of the methodology behind their curious and otherworldly presence. The same sensibility is also found in Vance’s canvases, the surfaces of which are just as radiant and reticent. A mysterious quality surrounds both types of work: it is impossible to imagine the interior structure of a Price sculpture, just as the viewer will search in vain for a structural hierarchy in Vance’s paintings.

Finish is a crucial component of Price’s sculptures, which he described as “rounded forms with active surfaces.” Just as one might say of Vance’s paintings, in reverse, that they are “flat surfaces with active forms.” It is precisely this interaction—between colour, surface, form and spatiality—that links their work across disciplines and generations.

LESLEY VANCE (b. 1977, Milwaukee, WI, USA) lives and works in Los Angeles. Always circled whirling, her first solo institutional exhibition was recently organised by the Columbus Museum of Art, Columbus, OH, USA (2023). Vance’s work is held in numerous public collections: San Francisco Museum of Modern Art, San Francisco; Metropolitan Museum of Art, New York; Dallas Museum of Art, Dallas; Milwaukee Art Museum, Milwaukee; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Los Angeles County Museum, Los Angeles; Walker Art Center, Minneapolis; and The Whitney Museum of American Art, New York, among others. Her work is also currently included in 50 Paintings at Milwaukee Art Museum, Milwaukee.

KEN PRICE (1935-2012) participated in the Whitney Biennial in 1979 and 1981. His first retrospective took place in 1992 at the Walker Art Center, Minneapolis. A major travelling retrospective was organised by the Los Angeles County Museum of Art (2012-2013) and designed by his friend Frank Gehry. His works are included in important public and private collections around the world including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; San Francisco Museum of Modern Art, San Francisco; Whitney Museum of American Art, New York; Victoria and Albert Museum, London; Walker Arts Center, Minneapolis; and Stedelijk Museum, Amsterdam.

XAVIER HUFKENS

44 rue Van Eyck, 1050 Brussels

www.xavierhufkens.com 

Elisa D'Arrigo @ Elizabeth Harris Gallery, NYC - Taking Shapes

Elisa D'Arrigo: Taking Shapes

Elizabeth Harris Gallery, New York

September 9 - October 21, 2023 

Elisa D'Arrigo

Sidestepper 3, 2023

Glazed ceramic, 5.5 x 8 x 6 inches

© Elisa D'Arrigo, courtesy Elizabeth Harris Gallery

Photography: Adam Reich

The Elizabeth Harris Gallery presents Taking Shapes, an exhibition of new ceramic works by Elisa D'Arrigo. In this exhibition, the artist continues to explore possibilities for integrating color, mark-making, and animated sculptural form within the context of the glazed ceramic vessel.

Taking Shapes alludes to Elisa D'Arrigo process: each piece begins with an array of hollow hand-build cylindrical, spherical and rectilinear clay forms, taking shape as Elisa D'Arrigo manipulates these elemental forms in a period of intense improvisation. 

In the artist's words: 

"I play with these forms, combining, taking apart, recombining; all the while seeking a configuration that speaks to me, feels fresh and not fully known. Seams, edges and how the form sits, reclines, stands or even slouches ail get attention...the pieces are often taking a stance or in a paused position between moves. I feel the configurations in my own body, and their positions often record or express my own transitory states of mind. "

Elisa D'Arrigo (*1953) was born and raised in the Bronx, NY. In 1971 she attended CIDOC in Cuernavaca, Mexico; she received a BFA in Ceramics from SUNY New Paltz in 1975. She lives and works in New York City.

Elisa D'Arrigo: Taking Shapes

A catalogue with a text by Kay Whitney 

was published by Elizabeth Harris Gallery

ELIZABETH HARRIS GALLERY

529 West 20th Street, New York, NY 10011

www.ehgallery.com

Peter and Sally Saul @ Michael Werner Gallery, East Hampton, NY

Peter and Sally Saul

Michael Werner Gallery, East Hampton

Through 13 November 2022

Michael Werner Gallery, East Hampton presents Peter and Sally Saul, an exhibition of works on paper by Peter Saul and ceramic works by Sally Saul. Both artists specifically created and selected the mostly new works for this joint exhibition, where their work is shown together for the first time in many years.

Since his first solo exhibition in 1961, PETER SAUL (b. 1934) has exhibited throughout the world. His paintings are found in numerous museum collections worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; Carnegie Museum, Pittsburgh; Centre Pompidou, Paris; Los Angeles County Museum of Art; Moderna Museet, Stockholm; Museum Ludwig, Cologne; and Stedelijk Museum, Amsterdam. Recent important exhibitions include Peter Saul at the Schirn Kunsthalle in Frankfurt, Pop, Funk, Bad Painting and More at Les Abattoirs in Toulouse and Le Delta in Namur, and his first retrospective in New York, Peter Saul: Crime and Punishment at the New Museum. Paul Saul’s first extensive monograph was published by Rizzoli in Fall 2021.

SALLY SAUL (b. 1946) has shown her work extensively for over three decades in solo exhibitions and group shows throughout the United States and internationally. Her first survey Blue Hills, Yellow Tree, bringing together three decades of work, was held at Pioneer Works in Brooklyn, New York in 2019. Sally Saul is represented by Venus over Manhattan. Solo exhibitions include Sally Saul at Almine Rech, Paris in 2020, and at Rachel Uffner Gallery in New York in 2020/21.  Her work has been shown at other venues including Jeffrey Deitch, New York; the Art Museum of West Virginia, Morgantown, WV; the Aldrich Contemporary Art Museum, Ridgefield, CT; White Columns, New York; and Lumber Room, Portland, OR.

Both artists live and work in Germantown, New York.

MICHAEL WERNER EAST HAMPTON

50 Newtown Lane, East Hampton, NY 11937

www.michaelwerner.com

Peter and Sally Saul

Michael Werner East Hampton

24 August - 13 November 2022

_____________________

Strange Clay: Ceramics Contemporary Art @ Hayward Gallery, London

Strange Clay: Ceramics in Contemporary Art 

Hayward Gallery, London

26 October 2022 - 8 January 2023

Beate Kuhn 

Glasbaum, 2001 

Stoneware, porcelain, thrown, assembled 

24 x 40 x 37 cm 

Courtesy the Estate of the Artist. 

Photo: Tony Izaaks

Lubna Chowdhury 

Sign 7, 2021

Glazed ceramic, wooden board

132 x 242 x 4 cm

© Lubna Chowdhary. Courtesy the artist. 

Photo: Andrew Judd

The Hayward Gallery presents Strange Clay: Ceramics in Contemporary Art, the first large-scale group exhibition in the UK to explore how contemporary artists have used the medium of clay in inventive ways. Given the recent surge of interest in ceramics by artists around the world, as well as countless people who enjoy sculpting clay as a pastime, Strange Clay offers a timely reflection on this vital and popular medium. Featuring 23 international and multi-generational artists, from ceramic legends Betty Woodman, Beate Kuhn, Ron Nagle and Ken Price, to a new generation of artists pushing the boundaries of ceramics today, the exhibition explores the expansive potential of clay through a variety of playful as well as socially-engaged artworks.

Strange Clay features works by Aaron Angell, Salvatore Arancio, Leilah Babirye, Jonathan Baldock, Lubna Chowdhary, Edmund de Waal, Emma Hart, Liu Jianhua, Rachel Kneebone, Serena Korda, Klara Kristalova, Beate Kuhn, Takuro Kuwata, Lindsey Mendick, Ron Nagle, Magdalene Odundo, Woody De Othello, Grayson Perry, Shahpour Pouyan, Ken Price, Brie Ruais, Betty Woodman and David Zink Yi.

Curated by Dr Cliff Lauson, Strange Clay features eccentric abstract sculptures, large immersive installations, fantastical otherworldly figures and uncanny evocations of everyday objects. The artworks vary in scale, finish and technique, and address topics that range from architecture to social justice, the body, the domestic, the political and the organic. Regardless of background or route into the material, all of the artists in the exhibition celebrate the sheer possibility and versatility of clay.

Ron Nagle  

Schmear Campaign, 2012

Ceramic, Glaze, Epoxy resin, China Paint

17.7 x 7.6 x 9.5 cm

© Ron Nagle 

Courtesy the artist and Matthew Marks Gallery / Modern Art  

Photo: Don Tuttle

Ron Nagle  

Ms. Artismal, 2018

Ceramic, catalyzed polyurethane, epoxy resin, acrylic

17 x 10 x 10 cm

© Ron Nagle. 

Courtesy the artist and Matthew Marks Gallery / Modern Art 

Photo: Don Tuttle

Among the highlights of the exhibition is the work of Ron Nagle. Born in 1939 in San Francisco where is live and work, this talented artist is know for its colourful abstract expressionist ceramics. For more information on this artist, you can read the posts on two exhibitions (among others) that Matthew Marks Gallery (New York), which represents him, devoted to Ron Nagle : Ron Nagle: Necessary Obstacles (2021) and Ron Nagle: Getting to No (2019).

In a brand new commission for the exhibition, titled Till Death Do Us Part (2022), Lindsey Mendick explores the domestic realm as a site of conflicts and negotiations. A reflection on the ambivalence of domestic settings and relationships, the home is represented as a battleground where vermin infiltrate every corner of the house.

David Zink Yi

Untitled (Architeuthis), 2010

Burnt and glazed clay

29 x 575 x 115 cm / 11 3/8 x 226 3/8 x 45 1/4 inches

© David Zink Yi. Courtesy the artist and Hauser & Wirth 

Photo: Stefan Altenburger Photography Zürich

David Zink Yi’s giant ceramic squid, Untitled (Architeuthis) (2010) sprawls across the floor of the gallery, spanning more than 4.8 metres and lying in what appears to be a pool of its own ink. Fascinated by the extreme biological differences between humans and squids, he explores the relationship between myth-making and the construction of identity.

Takuro Kuwata

Untitled, 2016

Porcelain, glaze, pigment, steel, gold, lacquer

288 x 135 x 130 cm

Courtesy: Alison Jacques, London 

© Takuro Kuwata; photo: Robert Glowacki

In his ceramics sculptures, Takuro Kuwata radically reinterprets the shape of a traditional Japanese tea bowl or chawan – a vessel used to prepare and make tea for traditional ceremonies. Greatly varying in scale, the artist’s sculptures are glazed with elaborate colours and textures that evoke organic forms, pushing traditional techniques to create something entirely unique and surprising.

Klara Kristalova

Installation view of Klara Kristalova: Camouflage, 

Perrotin, Paris, September 7 – October 7, 2017

Courtesy Perrotin. Photo: Claire Dorn

Klara Kristalova

Wooden girl, 2021

Stoneware, 62 x 25 x 31 cm

© Klara Kristalova and Perrotin. 

Courtesy Perrotin. Photo: Tanguy Beurdeley

Fantastical creatures are displayed in a botanical installation from Klara Kristalova, featuring plants and ceramic sculptures. Roots, moss, grass and branches evoke the forest surrounding the artist’s studio in the Swedish wilderness and the woodland setting of fairy tales.

Woody De Othello 

Won’t Tell, 2018

Ceramic, glaze, acrylic paint, resin, 135.9 x 48.3 x 48.3 cm

© Woody De Othello. Courtesy of the artist; 

Jessica Silverman, San Francisco; and Klarna, New York, NY 

Photo: John Wilson White

Woody De Othello

on and ON, 2020

Ceramic, underglaze, glaze, 43.2 x 43.2 cm

© Woody De Othello. Courtesy of the artist; 

Jessica Silverman, San Francisco; and Klarna, New York, NY 

Photo: John Wilson White

Woody De Othello’s surreal clay sculptures modify the shapes of traditional household objects into over-sized, twisted and sometimes anthropomorphic forms. With his distinct approach to ceramics, Woody Othello reimagines the mundane with a humorous twist while offering a serious reflection on society and race.

Dr Cliff Lauson, Curator of Strange Clay: Ceramics in Contemporary Art, says: “Strange Clay brings together some of the most exciting artists working in ceramics in recent years. Using innovative methods and techniques, they push the medium to its physical and conceptual limits, producing imaginative artworks that surprise and provoke in equal measure.”

Ralph Rugoff, Director of the Hayward Gallery, says: “Vibrant, playful and provocative, Strange Clay brings together a diverse range of artists - from across the world as well as the UK - whose work is inventively redefining the place of ceramics in contemporary art. Their work celebrates the medium’s special characteristics in order to explore an array of timely concerns.”

The exhibition is accompanied by a fully illustrated catalogue with essays by Dr Cliff Lauson and Amy Sherlock, texts by Allie Biswas, Jareh Das, Hettie Judah and Jenni Lomax, and a roundtable discussion with four of the artists in the exhibition chaired by Elinor Morgan, co-published by Hayward Publishing and Hatje Cantz.

Strange Clay: Ceramics in Contemporary Art is curated by Dr Cliff Lauson with Assistant Curator Marie-Charlotte Carrier and Curatorial Assistant Suzanna Petot.

HAYWARD GALLERY

Southbank Centre, Belvedere Road, London

www.southbankcentre.co.uk

Jiha Moon @ Derek Eller Gallery, NYC - Stranger Yellow

Jiha Moon: Stranger Yellow

Derek Eller Gallery, New York

January 6 - February 5, 2022

JIHA MOON

Stranger face, yellow spirit, 2021

Ink, acrylic, ceramic, resin on Hanji mounted on panel

24 x 24 x 3 in. / 61 x 61 x 8 cm

© Jiha Moon, courtesy of Derek Eller Gallery

Derek Eller Gallery presents a solo exhibition of new paintings and ceramic sculptures by Atlanta-based artist JIHA MOON.  Working with a palette of super-saturated yellows, oranges, magentas and blues against contrasting dark Hanji (Korean mulberry paper) and brown stoneware, Jiha Moon mixes ingredients from Asian tradition and folklore, Western contemporary art, and global popular culture to create a vibrant and personal visual language in both two and three dimensions.

Throughout many of the works in this exhibition, Jiha Moon incorporates a particular shade of “Stranger Yellow” which she describes as a “mysterious, luscious, yet cautiously high-key color that stands out”.  Born in Korea in 1973, Jiha Moon has lived in the United States for over twenty years, and this color speaks to her notions of the visibility of the Asian community in America, as well as her own identity as an Asian American artist. The Stranger Yellow manifests itself in myriad ways: as an enlarged Pop brushstroke reminiscent of Lichtenstein, as a banana referencing the pejorative term for an assimilated Asian American, as the flowing blonde hair of a Western princess or Goldilocks, and as the contours of sun-dappled mountains and ocean waves evocative of Asian hanging scrolls.

The centerpiece of the exhibition, a ten-foot diptych entitled Yellowave (Stranger Yellow), contains many of these moves and more. Simultaneously chaotic and meditative, the painting pictures a large fluid landscape of swooping yellow in which twisted and patterned fortune cookies mingle with flowers and creatures from Korean folk art. A Blue Willow pattern motif (coopted from China by 18th Century Western design) occurs throughout. In a seamless cross-pollination of East and West, Jiha Moon incorporates additional invented and appropriated iconography in other paintings and sculpture, including Mexican Otomi dolls, Milagros, face jugs of the American South, emojis, tattoo design, and peaches (a symbol of immortality in Asian culture and a simultaneous nod to Jiha Moon’s hometown of Atlanta). She deftly utilizes this ever expanding vocabulary of imagery to explore relevant issues of identity, cultural displacement, and miscommunication.

JIHA MOON (born 1973, Daegu, South Korea) lives and works in Atlanta, GA. She had a recent solo exhibition at Abroms-Engel Institute for the Visual Arts at University of Alabama, Birmingham, AL and was included in “State of the Art 2020” at Crystal Bridges Museum of American Art, Bentonville, AK and “45 at 45” at L.A. Louver Gallery, Venice, CA. She has had solo  exhibitions at Museum of Contemporary Art Georgia, Atlanta; The Cheekwood Museum of Art, Nashville, TN; James Gallery of CUNY Graduate Center, NY, among others.  She has been included in group shows at Kemper Museum, Kansas City, MO; Fabric Workshop and Museum, Philadelphia; Asia Society, New York; and The Drawing Center, NY. Jiha Moon’s mid-career survey organized by the Halsey Institute of Contemporary Art and Taubman Museum toured more than 10 museum venues around the USA through 2018. This is her second solo exhibition at Derek Eller Gallery.

DEREK ELLER GALLERY

300 Broome Street New York, NY 10002

www.derekeller.com

Katy Schimert @ Derek Eller Gallery, NYC - Niagara

Katy Schimert: Niagara 

Derek Eller Gallery, New York 

November 18 - December 23, 2021 

KATY SCHIMERT

Blue American Falls, 2016

Glazed wood fired stoneware

14.5 x 20.5 x 11.5 inches

© Katy Schimert, courtesy of Derek Eller Gallery

Derek Eller Gallery presents a solo exhibition of ceramic sculpture and works on paper by KATY SCHIMERT. A rigorous and poetic exploration of waterfalls, Niagara exemplifies Katy Schimert’s decades-long incorporation of autobiography, craft, and bodily forms, placing her firmly within the trajectory of feminist art history. 

Growing up outside of Buffalo, NY, Katy Schimert made regular pilgrimages to Niagara Falls with her family. Inspired by the sculptural paintings of the Falls by 19th century Romantic artist William Morris Hunt, she began working with clay to render this iconic image of majestic natural force. The way in which Schimert rolls thick slabs of clay and allows gravity to dictate the form is indicative of the unique formations of the Falls—be it the concave horseshoe from the Canadian side or the opposing convex curve from the American perspective. Building up and carving away the front, she leaves the back raw. Like an exoskeleton or muscle, the luminous sculptures lean and pull during the high firing process, connecting the power of physical form to the gravitational center of the viewer’s body. 

With a modeled front and a raw back providing a glimpse of the internal body, the varied views of the sculptures evoke a veil of water, a cloak, or fossil of a force left behind. Carefully carved undulating lines and folds imply drapery. “I would like to use the patterns of the draped body to depict the internal body, thereby dissolving the skin between the outer garment and inner body,” writes Katy Schimert. Pointing to Medieval and Art Deco representations of draped figures as archetypes for her sculptures, Schimert notes, “It seems they have an otherworldly effect as though the physical body dissolves to leave an emotional and intellectual shell.” 

As she has done through much of her career, Katy Schimert alternates between sculpture and drawing, allowing each medium to inform and influence the other. The slabs of clay within the sculptures relate to sheets of paper, thereby amplifying a suite of watercolors, painted in radiant, fluid lines of red, purple, and blue.  Along with the sculpture, these drawings proffer a new narrative direction for the iconic Falls, one that re-imagines them as a female body and explores the creative force of love, emotion, and intuition. 

Katy Schimert (b. 1963) lives and works in New York.Schimert is currently featured in Making Knowing: Craft in Art, 1950-2019 at the Whitney Museum of American Art, New York, NY and recently participated in Moon Shot at the Moody Center For the Arts at Rice University, Houston, TX. She is a 2020 recipient of the John Simon Guggenheim Foundation fellowship and an upcoming artist in residence at The Joan Mitchell Center in New Orleans, LA. Schimert has exhibited extensively, with solo exhibitions at David Zwirner, New York, University Museum of Contemporary art at University of Massachusetts, Amherst, and The Renaissance Society, Chicago, among others. This is her first exhibition at the Derek Eller Gallery. 

DEREK ELLER GALLERY

300 Broome Street New York, NY 10002

www.derekeller.com

Ron Nagle @ Matthew Marks Gallery, NYC - Necessary Obstacles

Ron Nagle: Necessary Obstacles

Matthew Marks Gallery, New York

September 11 – October 23, 2021

The exhibition Ron Nagle: Necessary Obstacles at Matthew Marks Gallery in New York features eighteen new sculptures and six related drawings. Each sculpture is meticulously crafted by hand in the artist’s San Francisco studio in a variety of materials including clay, catalyzed polyurethane, epoxy resin, and wood. Despite their intimate scale, Ron Nagle’s works have an outsized visual presence. Evoking otherworldly landscapes or surreal architectural arrangements, Ron Nagle’s diminutive sculptures are “invested with the grandeur of the Taj Mahal” as the critic Dave Hickey has written. With their unexpected combinations and forms, Ron Nagle’s inventive works elicit a vast range of associations. “The thing you want people to feel,” Ron Nagle has said, “is something they haven’t felt before.”

RON NAGLE (b. 1939) began working with ceramics in the 1950s, while still in high school. His first oneperson exhibition took place in 1968, and since then his work has been shown at numerous museums around the world, including most recently “Ron Nagle: Handsome Drifter” at the Berkeley Art Museum, as well as one-person exhibitions at the Vienna Secession, the Fridericianum in Kassel, and the Perimeter in London.

MATTHEW MARKS GALLERY

523 West 24th Street, New York, NY 10011

matthewmarks.com

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Ron Nagle @ Matthew Marks Gallery, NYC - Getting to No

Ron Nagle: Getting to No

Matthew Marks Gallery, New York

May 2 – June 15, 2019

The exhibition Ron Nagle: Getting to No at Matthew Marks Gallery in New York features twenty-six new sculptures and fifteen related drawings. Most are no larger than six inches in any dimension, but at this scale, Ron Nagle says, an object “can allude to a much bigger place, because it’s so small your imagination has to fill in all that space that’s not there.” Ron Nagle makes his exquisitely crafted, jewel-like sculptures by hand, and although he works in traditional mediums like ceramic and porcelain, he combines them with other materials, including epoxy resin and catalyzed polyurethane, to create forms that cannot be achieved in clay alone. This merging of incongruous elements also extends to his titles, which are loaded with puns and wordplay: Egregious Philbin (2017), for example, or Quartersan (2018). “I’m trying to create a hybrid,” he explains. “You can’t quite put your finger on it.”

Inspiration for Ron Nagle’s work often comes from unusual sources, like the roadside tombstones of Hawaii, the custom paint jobs of 1960s hot-rod cars, or the stucco houses of the San Francisco neighborhood where he grew up. Even a deformed tree or a stain on the sidewalk can spark an idea. But his work is also grounded in tradition. He frequently cites the influence of shibui, an aesthetic of contrast and balance that is highly prized in Japan. When Ron Nagle makes a sculpture, the proportion of each color is essential; the most vibrant hue might be confined to a thin stripe along its base. “That’s the zinger,” he says. “In music they’d call it a hook. Your eye will go there in reference to the other colors.”

RON NAGLE (b. 1939) lives and works in San Francisco and began working with ceramics in the 1950s, while still in high school. He apprenticed to Peter Voulkos in 1961 and later exhibited alongside Voulkos, Ken Price, and other innovative West Coast artists working in clay. His first one-person exhibition took place in 1968, and since then his work has been shown at numerous museums, including one-person exhibitions at the Saint Louis Art Museum, the Carnegie Museum of Art in Pittsburgh, the San Diego Museum of Art, and the Museum Boijmans Van Beuningen in Rotterdam. Later this year the Fridericianum in Kassel, Germany, and the Secession in Vienna will open exhibitions of Ron Nagle’s work. Early next year the Berkeley Art Museum will present a survey of his work.

RON NAGLE Getting to No

Exhibition catalogue, Matthew Marks Gallery, 2019

With an interview by Vincent Fecteau

Clothbound with jacket, 64 pages, 27 images, 11 × 10½ inches; 28 × 27 cm

MATTHEW MARKS GALLERY

522 West 22nd Street, New York, NY 10011

matthewmarks.com

Kim Simonsson, Galerie Forsblom, Helsinki - Little Prince And Moss People

Kim Simonsson

Little Prince And Moss People

Galerie Forsblom, Helsinki

March 11 – June 3, 2016

Little Prince and Moss People is a series of ceramic sculptures by KIM SIMONSSON (b. 1974) portraying denizens of a parallel reality. Wearing voodoo masks, his feathered creatures are members of a tribe blessed with the power of flight. The all-white boy represents the figure of the Little Prince, who dons a helmet as he embarks on his phantasmagorical adventures in outer space. The huddle of hand-crafted moss people creates a stark contrast to the pure white sculptures.

Kim Simonsson electrostatically transfers nylon fiber to the surface of the sculptures, where it forms a layer resembling moss. The sculptor’s touch is visibly imprinted on the surface, creating dappled effects as the light catches in the moss-like folds. The nylon fiber and hand-crafted effect add new dynamism to the customarily smooth, glazed surface of Kim Simonsson’s sculptures. Some of his sculptures are encrusted in a cauliflower-like surface; others are decked in feathers. Kim Simonsson renews the traditions of ceramic art by combining the vocabulary of classic marble sculpting with computer games and other elements of popular culture. This is the first exhibition to also feature a bronze sculpture by Kim Simonsson.

KIM SIMONSSON graduated as a ceramics major from the University of Arts and Design in 2000. He was chosen as Finland’s Young Artist of the Year in 2004. He is an internationally active artist whose works are found in Finnish and foreign collections including the Victoria and Albert Museum, the Museum of Contemporary Art Kiasma and the EMMA – Espoo Museum of Modern Art. Kim Simonsson lives and works in Fiskars. 

GALERIE FORSBLOM

Lönnrotinkatu 5 / Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com