Prizes and Awards

The IAC decided to create a new webpage focused on prizes and awards won by our members in the context of prestigious international competitions, starting in 2017.

This is yet another way to promote contemporary ceramics and contribute to making IAC artists more visible. Announcements will be relayed on our Facebook page “International Academy of Ceramics”.

This new webpage will be notably devoted to those distinctions obtained in the context of competitions from partnering institutions of the IAC, such as KOCEF, Mino, Seto, Yingge, Vallauris, etc.

Please send your notice to the IAC Office ( or which will take care of the publication.

Prizes and Awards 2017

Blanc de Chine International Ceramic Art Award (1st Edition)

“Remains of mountain and river”, discarded honeycomb ceramics, 2017.

JIANG Yanze – First Prize

Member’s page

“This series work is made from discarded industrial honeycomb ceramics, showing the geometric beauty presented by the unique structures of this material. I deconstruct the discarded pieces and collage them in another way, to interpret the natural scenery that are constantly devoured by the urban landscape.

In the era of industrialization, cities are symbols of the progress of civilization, and at the same time, are the outcome of the continuous separation of man from nature. For every step humanity takes towards civilization, the integrity of nature is chipped away a little. In the city, people strive to recreate natural scenery that have already disappeared. But it leaves only the remnants of mountains and rivers that are in the process of dissolving.” (JIANG Yanze)


“Esprit / Spirit”, porcelain, carved and turned, 1290 degrees, 2017.

Marc Leuthold – Second Prize

Member’s page

“My submission for the Blanc de Chine competition is “Esprit/Spirit.”  This sculpture consists of four ceramic objects presented in relation to two wooden bases. The piece is therefore a set unified thematically and in media.  Historically, white Chinese porcelains in France were mounted on ormolu bronze bases and in China in the Qing Dynasty on carved wooden bases. My porcelains are presented in a manner consistent with this historical context. The major object of the set is a fluted carved wheel.  On the front side of the wheel is a silhouette image of a prototypical female head.  On the reverse side is a harder to discern dragon head and a curved tail inspired by Warring States period (475-221 BC) Chinese jade carvings.

The accompanying vertically presented circular disc resembles somewhat, Bi jade discs with which Chinese buried their dead as a talisman for the departed to enjoy afterlife. In front of these two larger circular forms is a small offering bowl and the impression of the inside of my hand, a source of all my life’s work.  “Esprit/Spirit,” made of Dehua porcelain during a Blanc de Chine residency is a representation of different universal energies.  The silhouette and dragon are somewhat like Nietzsche’s Apollo and Dionysus energies in The Birth of Tragedy, a controversial work that has been reviled and admired since being first published in 1872. In their oppositional energies, they are simultaneously creative and destructive, and it is this path that the artist must walk.” (Marc Leuthold)

“Sea Flower”. Photo: Raffaele Tassinari

Martha Pachon Rodriguez – Third Prize

Member’s page

“The artist evokes the interiority of a marine world populated by mysterious and unknown fauna and flora. The lines are pure, enveloping, but the material and technique used are complex. Martha Pachon Rodriguez proceeds by assembling small fragments of earth, shaped by hand with patience and meticulousness. She also plays with openings and perforations.

She has been inspired by ancient Asian techniques such as Nerikomi style inlays, working with pigmented porcelain. Her use blue evokes the decorations of the Ming period. The creation of these pieces is an event in the form of a journey, which includes a sacred dimension: a magical, cathartic rite, part of an intellectual and conceptual event that requires time and a great deal of patience, skill and joy.” (Claudia Casali, Director of the International Museum of Ceramics in Faenza)

Cluj International Ceramics Biennale (3rd Edition)

“In-visible cities X”, Porcelain slip casting with print, 2014.

Ömür Tokgöz – Award of Excellence

Member’s page

“I like to think about the cities.
It contains different faces of different cultures, including its history.
This is like a reflection of the human thought. It tells us what we are.
I tried to show two different faces as the city and its shadow.” (Ömür Tokgöz)


Velimir Vukicevic – Award of Excellence

Member’s page

“Art is about creating object that have formula of its own and speak their own language, creating a dialogue that did not exist before.

Making and painting the clouds over mountains I would like to express the idea of transience, impermanence, movement and changeability as basic phenomena of life. A cloud as easy changing form is floating dream, handy template that provokes our imagination.” (Velimir Vukicevic)


“The Archeology of Memory: Book of Fire”. Photo: Vlad Basarab

Vlad Basarab – Award of Excellence

Member’s page

“The installation Books of Fire represents culture as the foundation of civilization, symbolized by the use of fired and un-fired clay in the construction of an archaeological site in the likeness of an archetypal library with ceramic books. I have chosen to reference books because they are historic symbols of knowledge and collective memory. The books are symbolically left unwritten to suggest the absence, forgetting and to inspire the viewer to imagine what they may contain. Books are symbols, instruments of memory.

From the beginning of history, there has been a strong connection between words and clay, as early forms of writing were on clay tablets. The past plays an important role in my creative process. My role as an artist is to dig through layers of history like an archaeologist in the attempt to recover the loss of collective memory. The notion of historic time and permanence, apparent in the ceramic books, appears in contrast with the fragility of culture and knowledge. In the historical context of the 20th century when ideological and totalitarian systems have led to the mass-destruction of books considered reactionary, the installation brings to attention the human need to save the past through an archaeology of memory.” (Vlad Basarab)

Gyeonggi International Ceramic Biennale / GICB (9th Edition)

“Tube Sculpture”. Photo: Jørn Hagen

Torbjørn Kvasbø – Grand Prize

Member’s page 

“Craftsmanship and materials, hands, fingers and eyes, are playfully coordinated to generate meaningful visual reflections and new knowledge. The formations and surfaces that occur are often disturbing, ambiguous, immediate and overwhelming – both beautiful and repulsive. All are combined to create a readable whole – the encounters, proportions and precision striking a perfect balance: like a killer punch to the solar plexus. The process remains a continuous dialogue between knowledge, practice and cruel critical reflection.” (Torbjørn Kvasbø)

“Whitepoeming , 白色吟遊”

Wonjae Jo – Gold Prize

Member’s page

“In making Whitepoeming, I focused on individual vessels gathered together in harmony to create one beautiful landscape.

Seen from a distance, the light and shadow of the curved surfaces of a group of ten white porcelain vessels make the assembly appear as a forest with different types of trees that move calmly and gently as if on the gentle breeze. Such subtle movement reveals yet another aspect of beauty of this work to the viewers through the process of observing and appreciating details of this piece.” (Wonjae Jo)

So Ling Yuen – Silver Prize

Member’s page

“ Excavation is both a process of work and a process of artist’s life.

In tradition, the broken ceramics is doomed as a fail because of inadequate experience and skill.  My artwork, on the contrary, is a breakthrough as “broken” is my choice in order to form a sculpture.

My practices of shaping layer by layer of high-fired ceramics creates the distinct structure that not only defines my artwork but also breaks through the traditional pattern.” (So Ling Yuen)

International Biennale of Artistic Ceramics of Aveiro (14th Edition)

“A Long Walk to Freedom”, white stoneware, moulds, 1280 degrees, 2016.

Yola Vale – 3rd Prize

Member’s page

Long Walk to Freedom is one of the boldest works in the “Fragmentos Suspensos” series. Ambitious in composition and size, the work seeks to reflect the harsh reality faced by refugees from around the world on their long journey to a safe haven. Those fleeing conflict, hunger, extreme desolation; they venture on a thorny path where hope is the only motivation.


A path that is a shot in the dark, a Russian roulette where life is gambled, because to stay is to know that it is already doomed. A work that simultaneously intends to serve as an analogy for the life of each of us, more or less easy, but always with obstacles on the way that we intend to make more human. As Fernando Pessoa said: “Stones on the road? I’ll keep them all, one day I’ll build a castle”. Yola Vale has built a rough sea, a winding path, a labyrinth of subterfuges, a call to consciousness.




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