Ivan Weiss

Throwing ceramics

Ivan Weiss acquired his first lessons in throwing ceramics in a small workshop situated in Hagi, Japan. Reflecting on his initial experiences, he describes the process as follows:

"When throwing a bowl for the first time, it may appear very flat. With more practice, the bowls become slightly larger, and eventually, with significant experience, they become taller. The ability to craft a bowl using only one's hands and fingers brings an enduring joy that never fades. "

The bowl

In the process of throwing a bowl, the lines are of utmost importance. Ivan explains his work:

"A bowl has many essential points and lines. The bottom, where the bowl begins, is particularly significant. It is the foundation from which the entire shape of the bowl is created and simultaneously reveals the bowl's 'face' made from the unique combination of technique and clay. A line from the bottom can extend horizontally, curve, and then end vertically at the edge. Thus, the bowl can be shaped by many small lines formed by fingers and tools during the throwing process. These lines create the internal and external form of the bowl. Observing the lines of a bowl is a great source of inspiration for generating new ideas."

Decoration

Ivan was initially trained as an overglaze painter at Royal Copenhagen, which is why decoration holds great importance to him.

"The decoration is particularly exciting when there is a symbiotic relationship between decoration and form, and even more so when they challenge each other. A defining characteristic of my decorations has always been the absence of symmetry and a deep interest in calligraphic expressions. I create my paintings quickly and spontaneously to capture the moment in both lines and colors. I take great pleasure in seeing how the colors enhance the white porcelain, making it almost luminous, as they appear like small ‘lakes’ within the decoration."

He continues:

“I need to be in a particular mood to decorate—often slightly serious and sometimes even sad. I never know when the right "nerve" will appear. Before my exhibitions, I usually arrange the bowls in long rows, set up the colors and brushes, and plan to start decorating the following morning. However, sometimes my subconscious mind focuses so intensely on decorating overnight that I feel completely exhausted and unable to decorate the next day. Then, perhaps a day or two later, I find myself in the perfect mood, determined to shut the doors and turn off the phones. I know it's crucial to seize this opportunity and work seriously because I never know when the right "nerve" will appear again. It is a very sensitive process.

Exhibitions

Ivan believes it is important to set a date for an exhibition because it creates commitment:

"I truly enjoy the time leading up to an exhibition. I often challenge the boundaries of materials and decorations, and I am filled with a lot of energy. Before the opening, I select my finest pieces of ceramics and arrange them with great care and pleasure. I remember my mentor, Niels Thorsson, always told me, 'Ivan, you must keep the best pieces for yourself as proof of your skill.' I have always followed his advice."