I am pleased to announce that my work is represented in a new book about Danish Ceramics: “ års dansk keramik” ( years of Danish ceramics) by Carsten Bagge Laustsen.
The book is published by Turbine.
The essay and photos of my work are to be found at p. , and
“Det er en bedrift at lave noget så stenagtigt som keramik levende. Man kan sige om megen keramik, at den er inspireret af naturen, og at formerne er organiske. Men for Åberg er det, som om hun selv puster liv i materien.”
“It is an achievement to make something so stone-like as ceramics come alive. You could say about a lot of ceramic sculptures that they are inspired by nature and that their forms are organic. But for Åberg it is as if she herself breathes life into the material.”
A Look Inside the Studio and Garden of Barbro Åberg
Since the early s, Barbro Åberg has been working steadily at home in Denmark to perfect an aesthetic that, more than three decades on, is immediately recognizable the world-over as her own.
Her remarkable, almost surreal works are rendered in monochrome and are inspired by fossils, vesse
Paper Clay Sculpture: Building with Clay and Paper to Strengthen Work Want to strengthen your sculptural work? Paper clay is the way to go! Kathleen Standen
Paper clay is any clay body to which processed cellulose fiber has been added. Adding paper pulp and other fibers to your clay body can make things you never thought possible with clay totally doable. This is why many sculptors make paper clay sculpture. Paper clay helps reduce shrinkage in the drying stageand strengthen joints, allowing wet and dry pieces to be joined. Think your mug has dried too much to attach a handle? With paper clay, it's not an issue.
In today’s post, an excerpt from Additions to Clay Bodies, Kathleen Standen explains the ins and outs of working with paper clay. She also shares how Barbro Aberg makes her paper clay sculpture. – Jennifer Poellot Harnetty, editor
Strengthening Your Work with Paper Clay
The most commonly used fiber is cellulose, made from paper pulp. Ceramicists generally have a favorite paper they use, such as newspaper, egg cartons or toilet paper. The proportion of clay slip to paper pulp varies, but a typical sample would be
Barbro Åberg
1
Entangled Mountain
62 x 52 x 22 cm
kr
2
More Entanglements
36 x 55 x 18 cm
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3
White Tulip Bowl
45 x 25 x 45 cm
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4
Black Swirly Bowl
37 x 20 x 37 cm
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5
Black Bubble Bowl
28 x 36 x 36 cm
dkr
6. SOLGT og 7
Swirly Orbs
Stor (25 x 25 x 25 cm). SOLGT
kr
Lille (14 x 14 x 14 cm)
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8 og 9
Speakers
22 x 13 x 13 cm
22 x 11 x 13 cm
kr pr stk
10
Guardians
25 x 16 x 11 cm
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11
Spikey Orb
18 x 18 x 18 cm
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12
Black Grip Bowl (set fra oven)
23 x 20 x 23 cm
kr
12
Black Grip Bowl
23 x 20 x 23 cm
kr
13
Black Cellular Ship
16 x 23 x 10 cm
dkr
SOLGT
Cloudy Orb
Ø 25 cm
dkr
SOLD
Cloudy Egg
24 x 41 x 24 cm
dkr
16
Flutter,
22 x 14 x 24 cm
SOLGT
Listener,
15 x 12 x 15 cm
dkr
18
Speaker
20 x 19 x 20 cm
kr
About
I have considered painting my main task in life since about 20 years, although I have always enjoyed having many tasks to do; some activity in the Finnish art scene (right now through kunsthalle Kohta, which I have started in with some colleges), picture book manuscripts, drawing maps or curating art on electricity distribution boxes in Helsinki, where I live.
Before I changed my studies to become an artist, I studied journalism and worked in that field for a few years – I have always seen art as a form of communication. A communication that cannot always be translated into words, especially not the reason behind it. A kind of poetic communication that is endangered in a society that honours rationality and effectiveness. A bit paradoxically, I enjoy words and writing, but I end up doing pictures because there are not always words.
My painting motifs have varied through the years, with a kind of oppositeness in common; like light/shadow, heimlich/unheimlich, beautiful/disgusting. There are two sides of everything – this is something very essential for me, for some wordless reasons.
Magdalena Åberg
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