2022, 33cm x 15cm 17cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Glazed, Lustre, Pattern, Relief
2010, 78cm x 40 cm x 42cm, Media: Colored porcelain, Firing Process: Electric, High-fire, Surface: Pattern, Relief, Unglazed
Soft cellulose sponge molds are mixed into the installation. A hand is squeezing the molds to differentiate them from the colored porcelain pieces.
2022, 30 cm x 33 cm x 26 cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Glazed, Lustre, Pattern, Relief
2020, 17 cm x 17cm x 69 cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Engobe / Slip / Underglaze, Pattern, Relief
The work was made from flat cellulose sponges that have been sewn together to make soft, single use molds for porcelain slip.
2018, 42 cm x 6 cm x 12cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Engobe / Slip / Underglaze, Pattern, Relief
The work was made from flat cellulose sponges that have been sewn together to make soft, single use molds for porcelain slip.
2018, 36 cm x 4cm x 14cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Engobe / Slip / Underglaze, Pattern, Relief, Unglazed
The work was made from flat cellulose sponges that have been sewn together to make soft, single use molds for porcelain slip.
2019, 11cm x 6cm x 17cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Pattern, Relief, Unglazed
The work was made from flat cellulose sponges that have been sewn together to make soft, single use molds for porcelain slip.
2016, 33cm x 15cm x 12cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Pattern, Relief, Unglazed
This box was selected for the FOKUS Vessel exposition in Westerwald Germany i n2016. The work was made from flat cellulose sponges that have been sewn together to make soft, single use molds for porcelain slip.
2011, 15cm x 7cm x 11cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Pattern, Relief, Unglazed
This series was selected for honorable mention award in Mino Japan in 2010. The work was made from flat cellulose sponges that have been sewn together to make soft, single use molds for porcelain slip.
2010, 16 cm x 16cm x 16cm, Media: Porcelain, Firing Process: Electric, High-fire, Surface: Pattern, Relief, Unglazed
This series won an Honorable Mention award in Mino Japan in 2010. The work was made from flat cellulose sponges that have been sewn together to make soft, single use molds for porcelain slip.
Artist Statement
I sew flat cellulose sponges together to make soft molds for porcelain slip. There is a direct correlation between the shape of the work and the yielding sponge mold. You can see all the seams and folds of the textile that have been imprinted into the form of the ceramic object. A fabrication process has been developed to transform the cellulous fabric into porcelain objects.
My work is the result of years of experimentation. I embrace the effects that come from using atypical techniques combined with the uncontrollable deformation from the soft sponge molds and the heat of the kiln. For me, the process is just as important as the end product to give character to my pieces. My objective is to integrate new processes into traditional techniques to create original ceramic art.
The sponge cloth has become my tool and my source of inspiration. It is both stimulating and challenging to adapt the form and purpose of the flat sponge to create ceramics.
Bio
Lynn was born in 1964 in Ohio, USA. She moved to Switzerland in 1985 where she obtained degrees in Applied Ceramic Arts and in Ceramic Design in Vevey. She also has a Post-Grad diploma in Ceramic Experimentation and Research in Contemporary Ceramics (CERCCO) from the Haute Ecole d’Art et Design in Geneva.Ceramic Residencies in Korea and China have influenced her artistic expression as well as the American and Swiss cultures. She is methodical in her process yet yearns for the haphazard effects of the material in the creation of her artwork. Lynn’s ceramics have been part of numerous international competitions and exhibitions. Lynn is known for her “Spongeware” technique and has given demonstrations of this process throughout Europe and Asia.She is currently president of the Swiss professional ceramics’ association, swissceramics, where she has been an executive member of the board since 2012. She has organized numerous museum exhibitions and events for the association. She was on the steering committee for the 50th International Academy of Ceramics (IAC) Conference held in Geneva in 2022.Lynn is the director and founder of studio Ceramuse where she organizes and teaches ceramic courses and workshops.Lynn is a member of the International Academy of Ceramics (IAC) and her expertise in ceramics is officially recognized by the Métiers d’art Suisse.