{"id":28805,"date":"2017-06-26T11:39:59","date_gmt":"2017-06-26T11:39:59","guid":{"rendered":"http:\/\/www.aic-iac.org\/?page_id=28805"},"modified":"2026-10-29T14:38:26","modified_gmt":"2026-10-29T14:38:26","slug":"","status":"publish","type":"page","link":"https:\/\/www.aic-iac.org\/ja\/membres\/prix-et-recompenses\/","title":{"rendered":"","raw":""},"content":{"rendered":"","protected":false,"raw":""},"excerpt":{"rendered":"","protected":false,"raw":""},"author":1291,"featured_media":89870,"parent":8,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_fr_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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Cette page pr\u00e9sente les prix et r\u00e9compenses obtenus par les membres de l'Acad\u00e9mie internationale de la c\u00e9ramique, qui c\u00e9l\u00e8brent l'excellence, l'innovation et les contributions durables dans le domaine de la c\u00e9ramique contemporaine \u00e0 travers le monde.<\/p>\r\n<\/div>\r\n<\/td>\r\n

En raison de la croissance du nombre de membres et de l'augmentation du nombre de prix, cette page se concentre sur les r\u00e9compenses obtenues au cours des cinq derni\u00e8res ann\u00e9es.<\/span><\/td>\r\n<\/tr>\r\n
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Prix et R\u00e9compenses 2026<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale de c\u00e9ramique de Gyeonggi<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93921\" align=\"alignnone\" width=\"2275\"]\"\" \"Squaring the Circle.\" (2025), quincaillerie en c\u00e9ramique, gr\u00e8s et m\u00e9tal. \u00a9 Gyeonggi Museum of Contemporary Ceramic Art (GMoCCA)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Eliza Au - Prix d'excellence GCB<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Quadrature du Cercle est une installation c\u00e9ramique suspendue \u00e0 grande \u00e9chelle, compos\u00e9e de centaines de pi\u00e8ces de c\u00e9ramique individuelles. Ce travail refl\u00e8te mes recherches sur l'ornementation et l'architecture des espaces sacr\u00e9s, tels que les cath\u00e9drales, les temples et les mosqu\u00e9es.<\/p>\r\n<\/td>\r\n

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Mon intention n'est pas de faire r\u00e9f\u00e9rence \u00e0 une religion sp\u00e9cifique, mais d'attirer l'attention sur la composition commune de ces espaces, qui refl\u00e8tent une disposition sym\u00e9trique, radiale ou en grille.<\/p>\r\n

Ces dispositions sont couramment observ\u00e9es dans d'autres objets religieux, tels que les mandalas tib\u00e9tains et les motifs de carreaux islamiques. En attirant l'attention sur cet aspect, j'esp\u00e8re transmettre que toutes les cultures et tous les peuples ont utilis\u00e9 les motifs et l'architecture pour comprendre les concepts de divinit\u00e9.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_93926\" align=\"alignnone\" width=\"1549\"]\"\" \"The Bust\" (2025), gr\u00e8s, \u00e9maux. \u00a9 Korea Ceramic Foundation (KOCEF)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Yuriy Musatov - Prix d'excellence GCB<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Dans ma pratique sculpturale, j'explore l'alt\u00e9rit\u00e9 comme forme de pr\u00e9sence au-del\u00e0 de la perception humaine conventionnelle. Cette sculpture r\u00e9interpr\u00e8te le buste classique, en supprimant sa fonction traditionnelle de portrait. L\u2019absence de traits du visage et de caract\u00e9ristiques individuelles transforme la figure en une image g\u00e9n\u00e9ralis\u00e9e de l\u2019existence.<\/p>\r\n<\/td>\r\n

La forme reste reconnaissable comme humano\u00efde, mais r\u00e9siste \u00e0 l'identification comme humaine. Cela devient un vaisseau d\u2019alt\u00e9rit\u00e9, remettant en question la fa\u00e7on dont nous percevons et reconnaissons l\u2019identit\u00e9.
Plut\u00f4t que de repr\u00e9senter une personne sp\u00e9cifique, la sculpture capture un \u00e9tat de pr\u00e9sence au-del\u00e0 de l'individualit\u00e9 et du temps. \u00c0 travers la c\u00e9ramique, j'explore la fronti\u00e8re entre l'humain et l'inconnu, transformant le buste en un mod\u00e8le abstrait d'existence.<\/td>\r\n<\/tr>\r\n
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6e Prix Officine Saffi<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93931\" align=\"alignnone\" width=\"2048\"]\"\" \"iThwasa\" (2024), fa\u00efence \u00e9maill\u00e9e (enroul\u00e9e \u00e0 la main), vache.\u00a0[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Andile Dyalvane - Primo Premio<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

iThwasa (Celui qui fleurit) (2024) fait partie de la s\u00e9rie collaborative iNtwaso d'Andile Dyalvane et Nkuthazo Alexis Dyalvane, qui explore le voyage spirituel d'initiation pour devenir un \u00ab igqirha \u00bb (gu\u00e9risseur traditionnel Xhosa). Le r\u00e9cipient incarne un \u00e9tat de devenir : un seuil entre l'h\u00e9ritage ancestral et l'exp\u00e9rience v\u00e9cue, o\u00f9 la gu\u00e9rison commence par l'\u00e9coute, l'apprentissage et la transmission des connaissances \u00e0 travers les g\u00e9n\u00e9rations.<\/p>\r\n<\/td>\r\n

Sa forme en c\u00e9ramique est orn\u00e9e de poils de vache, de cuir et d'herbe, faisant r\u00e9f\u00e9rence aux insignes rituels port\u00e9s lors de l'initiation et signalant une relation \u00e9volutive entre le corps, l'esprit et la communaut\u00e9. Enracin\u00e9 dans la cosmologie Xhosa tout en r\u00e9sonnant avec des exp\u00e9riences universelles de transformation, iThwasa positionne l'argile comme un d\u00e9positaire vivant de m\u00e9moire et de soins. Plut\u00f4t que de traiter l\u2019appartenance comme une condition fixe, l\u2019\u0153uvre la comprend comme quelque chose continuellement cultiv\u00e9 \u00e0 travers le rituel, la parent\u00e9 et l\u2019h\u00e9ritage partag\u00e9 du savoir.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93935\" align=\"alignnone\" width=\"1828\"]\"\" Ecdysis 6 (2024), porcelaine et diff\u00e9rent \u00e9maux[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Trude Westby Nordmark - Prix de r\u00e9sidence Guldagergaard<\/h3>\r\n

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Ecdysis 6 explore les \u00ab formes d'appartenance \u00bb \u00e0 travers les capacit\u00e9s transformatrices de la porcelaine. Le titre fait r\u00e9f\u00e9rence \u00e0 l'ecdysis, le processus biologique consistant \u00e0 \u00e9liminer une couche externe pour permettre la croissance, servant de m\u00e9taphore mat\u00e9rielle sur la fa\u00e7on dont les formes \u00e9voluent et se r\u00e9organisent. Ici, l\u2019appartenance n\u2019est pas une condition sociale, mais un \u00e9tat ancr\u00e9 dans la mati\u00e8re : une n\u00e9gociation entre les surfaces, les structures et les forces qui agissent sur elles.<\/p>\r\n<\/td>\r\n

La sculpture utilise une construction modulaire o\u00f9 chaque unit\u00e9 de porcelaine fonctionne comme une cellule au sein d'un organisme plus grand. Par la r\u00e9p\u00e9tition et le rythme, ces modules forment des formations complexes et des couches de sens. La r\u00e9activit\u00e9 unique de la porcelaine, sa plasticit\u00e9, sa fragilit\u00e9 et son retrait lors de la cuisson d\u00e9terminent la fa\u00e7on dont ces unit\u00e9s interagissent. Leurs points de contact deviennent des lieux de transformation, faisant \u00e9cho au moment o\u00f9 un organisme devient trop grand pour sa peau.<\/td>\r\n<\/tr>\r\n
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Jingdezhen International Ceramic Art Biennale<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93940\" align=\"alignnone\" width=\"2560\"]\"\" \"Cycus Llamelae\" de la collection The Seed Pod (2024), porcelaine. \u00a9 Sylvain Deleu[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Corrie Bain - Prix de l'artiste \u00e9mergent Guozhong<\/h3>\r\n

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Mon travail explore la fragilit\u00e9 et la r\u00e9silience de la vie, l'urgence de la crise climatique et la persistance des cycles naturels malgr\u00e9 l'interf\u00e9rence humaine. Il s'agit d'une traduction de syst\u00e8mes biologiques en formes \u00e9motionnelles et conceptuelles, r\u00e9unissant des c\u00e9ramiques sculpturales, des structures organiques et des id\u00e9es entourant l'\u00e9cologie et l'exp\u00e9rience humaine.<\/p>\r\n<\/td>\r\n

Il existe un courant politique sous-jacent plus profond dans ma pratique, qui devient de plus en plus explicite \u00e0 mesure que je relie les fondements conceptuels de la s\u00e9rie Seed Pod \u00e0 des th\u00e8mes plus figuratifs et sociopolitiques, notamment le changement climatique, la migration et le deuil collectif. En fin de compte, chaque pi\u00e8ce devient une m\u00e9ditation sur la vie, la forme et la fragilit\u00e9.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93946\" align=\"alignnone\" width=\"1155\"]\"\" \"Breasts\" (2025),porcelaine, bois, caoutchouc, fil, m\u00e9tal[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ilias Christopoulos - Prix de l'artiste \u00e9mergent Guozhong<\/h3>\r\n

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Seins
La mati\u00e8re comme corps. La porcelaine comme peau.
Dans Breasts, la mat\u00e9rialit\u00e9 parle \u2013 elle devient un vaisseau de m\u00e9moire, de f\u00e9minit\u00e9 et de vuln\u00e9rabilit\u00e9.
La porcelaine, fra\u00eeche au toucher mais \u00e9clatante de lumi\u00e8re, se transforme en une peau qui se souvient, en une surface qui porte des traces de pr\u00e9sence et d\u2019absence.<\/p>\r\n<\/td>\r\n

La forme du sein, arch\u00e9typale et famili\u00e8re, surgit de la mati\u00e8re pour exprimer ce que le langage peine \u00e0 retenir : la perte, la peur et la renaissance. La mat\u00e9rialit\u00e9 ici n'est pas seulement technique mais exp\u00e9rience : c'est le toucher qui gu\u00e9rit, la fracture qui r\u00e9v\u00e8le, la transformation qui donne du sens.
\u00c0 travers la porcelaine, l\u2019\u0153uvre devient un hommage \u00e0 toutes les femmes qui ont v\u00e9cu le cancer du sein \u2013 celles qui se sont battues, celles qui ont triomph\u00e9 et celles qui ont laiss\u00e9 derri\u00e8re elles la lumi\u00e8re. Le mat\u00e9riau, fragile mais \u00e9ternel, devient le support \u00e0 travers lequel la vie elle-m\u00eame insiste pour \u00eatre ressentie, vue et m\u00e9moris\u00e9e.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93950\" align=\"alignnone\" width=\"2560\"]\"\" Hollowed-out divinity (2025), porcelaine, acier inoxydable, axe optique, b\u00e9ton[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Du Zhehan - Prix des artistes \u00e9mergents Guozhong<\/h3>\r\n

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Cette \u0153uvre fusionne la c\u00e9ramique et le m\u00e9tal, brisant la perception fig\u00e9e des symboles culturels. La \u00ab reconstruction \u00bb de la tradition est \u00e0 la fois un hommage \u00e0 l'histoire et sa d\u00e9construction et sa reconfiguration.<\/p>\r\n<\/td>\r\n

Les effets de creux, de fissures et d'\u00e9caillage produits par les deux mat\u00e9riaux h\u00e9t\u00e9rog\u00e8nes sur les statues des divinit\u00e9s symbolisent l'\u00e9nergie et la tension lib\u00e9r\u00e9es par les tranches de culture historique dans le contexte contemporain.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93956\" align=\"alignnone\" width=\"2560\"]\"\" Breaking the Impasse \u2013 Yang (\u7834\u5c40-\u739a) (2026), porcelaine et min\u00e9raux[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Wang Ronghui - Prix des artistes \u00e9mergents Guozhong<\/h3>\r\n

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L'argile c\u00e9ramique est l'un des premiers mat\u00e9riaux gr\u00e2ce auxquels les \u00eatres humains se sont connect\u00e9s au monde, incarnant les origines de nos exp\u00e9riences sensorielles, de nos pratiques artistiques et de notre culture mat\u00e9rielle. \u00c0 l\u2019\u00e8re du num\u00e9rique, les progr\u00e8s technologiques nous \u00e9loignent de plus en plus des connaissances sensorielles et des valeurs esth\u00e9tiques ancr\u00e9es dans notre relation avec la nature.<\/p>\r\n<\/td>\r\n

\u00c0 travers une exploration du langage fondamental de la c\u00e9ramique, Breaking the Impasse cherche \u00e0 remettre en question les conventions \u00e9tablies en mati\u00e8re de forme, de mat\u00e9riau et de technique, ouvrant un espace pour une rencontre plus directe et personnelle entre le corps humain et l'argile, une rencontre qui pr\u00e9c\u00e8de les normes et les attentes pr\u00e9d\u00e9finies.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93961\" align=\"alignnone\" width=\"2560\"]\"\" \"Min Nong - Grain Illusion\" (2025), poterie blanche, porcelaine, vid\u00e9o acc\u00e9l\u00e9r\u00e9e, planches de bois, acrylique[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Weier Qiu - Prix Kaolin<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

La s\u00e9rie MinNong r\u00e9interpr\u00e8te le r\u00e9cit du po\u00e8me classique Two Ballads of MinNong. Intitul\u00e9e Grain Illusion, cette \u0153uvre s\u2019inspire du vers \u00ab Chaque grain vient d\u2019un labeur amer \u00bb. En consid\u00e9rant le grain sous l\u2019angle du travail, l\u2019artiste reconsid\u00e8re sa double nature, r\u00e9fl\u00e9chit aux difficult\u00e9s agricoles et explore la dialectique entre la valeur du travail et l\u2019effort futile.<\/p>\r\n<\/td>\r\n

Le cycle complet de culture du riz d'une saison agricole est traduit en 19 017 carreaux de c\u00e9ramique individuels, un nombre correspondant aux grains r\u00e9colt\u00e9s. Ces pi\u00e8ces de c\u00e9ramique \u00e9l\u00e9mentaires font \u00e9cho au rendement de base des agriculteurs. Associ\u00e9e \u00e0 des images documentant le travail ardu et prolong\u00e9, l'installation d\u00e9roule une m\u00e9ditation sur un labeur r\u00e9p\u00e9titif et apparemment d\u00e9nu\u00e9 de sens.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93995\" align=\"alignnone\" width=\"1280\"]\"\" \"Hold the Line !\" (2026), impression 3D et porcelaine[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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J\u00f8rgen Frederik Scheel Haarstad - Kaolin Prize<\/h3>\r\nMember page<\/span><\/a>\r\n

I am an artist and musician. My artistic expression is particularly influenced by more than 25 years of working as a professional drummer.\u00a0<\/p>\r\n<\/td>\r\n

In my artistic practice, I explore and experiment with ceramics as an audiovisual material. I use ceramics to create sound objects and to produce sound in visual performances. I search for the uniqueness and sound potential of each individual ceramic object by manipulating the movement of the objects to produce sound.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93965\" align=\"alignnone\" width=\"2560\"]\"\" \"Loop #18\" (2025), gr\u00e8s \u00e9maill\u00e9[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Huang Jing - Prix d'art Dowstone<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\u00ab Loop \u00bb est une s\u00e9rie d\u2019\u0153uvres qui n\u2019indiquent ni d\u00e9but ni fin, mais mettent l\u2019accent sur le chemin sinueux lui-m\u00eame. Au milieu de la dislocation et de l\u2019ambigu\u00eft\u00e9 de n\u2019\u00eatre ni ici ni l\u00e0-bas, je m\u2019ancre en retra\u00e7ant mon pass\u00e9 et en m\u2019inspirant du paysage de ma ville natale, Guilin, apr\u00e8s un long d\u00e9part.<\/p>\r\n<\/td>\r\n

\u00ab Loop \u00bb \u00e9voque le paysage et refl\u00e8te mon respect pour mon pass\u00e9, ma culture et ma tradition. Son titre chinois, \u00ab \u56de \u00bb, signifie faire un cercle, revenir, se retourner. Ce caract\u00e8re pictographique repr\u00e9sente la forme de l\u2019\u0153uvre et symbolise un retour au processus lui-m\u00eame, c\u00e9l\u00e9brant ainsi mon identit\u00e9, mon pass\u00e9 et ma culture.<\/td>\r\n<\/tr>\r\n
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27e Concours Mino Chawan<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93970\" align=\"alignnone\" width=\"860\"]\"\" The Dancing Queen (2025), porcelaine cuite dans un four Anagama[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Teck Heng Alvin Tan - Prix Or<\/h3>\r\n

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La porcelaine a toujours \u00e9t\u00e9 tr\u00e8s pris\u00e9e ; c\u2019est une mati\u00e8re difficile \u00e0 travailler, d\u2019o\u00f9 le terme \u00ab Reine \u00bb. La cuisson dans le four anagama a d\u00e9form\u00e9 le bol, lui donnant l\u2019allure d\u2019une danseuse ; d\u2019o\u00f9 son nom : \u00ab La Reine dansante \u00bb.<\/td>\r\n<\/tr>\r\n
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Prix et R\u00e9compenses 2025<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale internationale de c\u00e9ramique artistique d'Aveiro<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93886\" align=\"alignnone\" width=\"2560\"]\"\" \u00ab\u00a0Jour de pluie\u00a0\u00bb (2024), gr\u00e8s, porcelaine \u00e0 l'oxyde, \u00e9mail[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva \u2013 Premier prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Cette sculpture s\u2019inscrit dans un ensemble plus vaste, intitul\u00e9 \u00ab Landscapes \u00bb (Paysages), au sein duquel j\u2019explore la mani\u00e8re dont les conditions environnementales influencent notre perception et notre exp\u00e9rience physique de l\u2019immersion dans la nature.<\/p>\r\n<\/td>\r\n

Dans cette \u0153uvre, j\u2019ai cherch\u00e9 \u00e0 \u00e9voquer une journ\u00e9e grise et pluvieuse, o\u00f9 de lourds nuages \u200b\u200bplanent au-dessus du sol, leur poids semblant presque tangible. Pour traduire cette sensation, j\u2019ai associ\u00e9 une forme gonfl\u00e9e, rappelant un nuage, \u00e0 de fines tiges, le tout dot\u00e9 d\u2019une texture de surface singuli\u00e8re et libre, issue d\u2019une technique qui m\u2019est propre. Le corps de la sculpture est fa\u00e7onn\u00e9 \u00e0 la main en gr\u00e8s, tandis que sa surface textur\u00e9e est obtenue par l\u2019application successive de petites gouttes de barbotine, pr\u00e9par\u00e9e \u00e0 partir de la m\u00eame argile.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93893\" align=\"alignnone\" width=\"1086\"]\"\" \u00ab Nature morte aux fleurs blanches \u00bb (2023), porcelaine non \u00e9maill\u00e9e[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Fernando Garc\u00e9s \u2013 Deuxi\u00e8me prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Mon travail s\u2019inscrit dans la tradition c\u00e9ramique, dans la simplicit\u00e9 de ses formes et dans une compr\u00e9hension approfondie des mat\u00e9riaux et des techniques. \u00c0 travers le travail de la porcelaine tourn\u00e9e, j\u2019explore les possibilit\u00e9s expressives de ces formes essentielles, cherchant \u00e0 transcender leur origine fonctionnelle pour leur conf\u00e9rer de nouvelles significations artistiques.<\/p>\r\n<\/td>\r\n

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Dans \"White Flowers Still Life\", je r\u00e9interpr\u00e8te la tradition picturale de la nature morte \u00e0 travers une composition sculpturale. Le jeu des volumes, de l\u2019ombre et de la lumi\u00e8re, associ\u00e9 \u00e0 de subtiles variations de blanc, instaure un dialogue entre les objets et l\u2019espace qui les entoure.<\/p>\r\n

La porcelaine non \u00e9maill\u00e9e r\u00e9v\u00e8le les qualit\u00e9s naturelles du mat\u00e9riau, tandis que les techniques de poterie traditionnelles deviennent de nouveaux moyens d\u2019expression artistique.<\/p>\r\n

Je m\u2019int\u00e9resse au lien entre tradition et art contemporain, ainsi qu\u2019\u00e0 la capacit\u00e9 des formes simples \u00e0 susciter l\u2019\u00e9quilibre, le silence et la contemplation.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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63e Prix Faenza<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_92986\" align=\"alignnone\" width=\"1417\"]\"\" \u00ab Novembre \u00bb (2024), gr\u00e8s[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - Prix Faenza \u00ab Plus de 35 ans \u00bb<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Il s\u2019agit d\u2019une sculpture issue de la s\u00e9rie plus vaste \"Landscapes\" (Paysages), dans laquelle j\u2019explore la mani\u00e8re dont notre perception de nous-m\u00eames \u00e9volue selon les espaces que nous occupons et sous l\u2019influence de divers facteurs naturels. Pour moi, le paysage de novembre est associ\u00e9 \u00e0 un \u00e9tat de vuln\u00e9rabilit\u00e9 totale : les arbres se dressent, branches nues, face au vent ; on en vient \u00e0 frissonner, avec l\u2019envie de s\u2019envelopper dans quelque chose de chaud et de doux. C\u2019est le moment de se pr\u00e9parer \u00e0 l\u2019hiver, de puiser en soi une force int\u00e9rieure et de faire des projets pour l\u2019avenir.\u00a0<\/p>\r\n<\/td>\r\n

La base de la sculpture est fa\u00e7onn\u00e9e \u00e0 la main en gr\u00e8s plastique. La texture de surface est obtenue par l'application de gouttes de barbotine, pr\u00e9par\u00e9e \u00e0 partir de la m\u00eame argile. Une cuisson \u00e9lectrique est effectu\u00e9e \u00e0 1250 \u00b0C.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93402\" align=\"alignnone\" width=\"640\"]\"\" \u00ab Rovine \u00bb (2024), terre cuite, porcelaine, verre, m\u00e9tal[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marta PALMIERI \u2013 Prix de la Chambre des d\u00e9put\u00e9s<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\u00ab Ruins \u00bb \u00e9merge du silence et explore la ville en tant que m\u00e9moire fragment\u00e9e et arch\u00e9ologie du futur. Des structures en c\u00e9ramique et en verre, emprisonn\u00e9es dans des enveloppes de terre cuite puis bris\u00e9es, r\u00e9v\u00e8lent des formes au sein desquelles une nature nouvelle surgit parmi des incrustations et des stratifications de mat\u00e9riaux.<\/p>\r\n<\/td>\r\n

Une arch\u00e9ologie apocalyptique met en r\u00e9cit des espaces abstraits, symbolisant la d\u00e9t\u00e9rioration de la communication et la transformation incontr\u00f4l\u00e9e de la r\u00e9alit\u00e9, qui devient alors une m\u00e9taphore de la perte et de la distance.<\/td>\r\n<\/tr>\r\n
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Ceramic Art Andenne 2025<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93501\" align=\"alignnone\" width=\"2560\"]\"\" \"Floating Dream\" (2025), porcelaine peinte[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Velimir Vukicevic - Grand Prix\u00a0<\/h3>\r\nPage membre<\/a><\/span><\/td>\r\n

Je souhaite concevoir un objet qui poss\u00e8de sa propre formule et parle son propre langage, instaurant ainsi un dialogue qui n\u2019existait pas auparavant.<\/td>\r\n<\/tr>\r\n
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Prix Loewe Craft 2025<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93902\" align=\"alignnone\" width=\"2048\"]\"\" \"Sandcastle\", gr\u00e8s \u00e9maill\u00e9[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Anina Major - Finaliste<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n<\/td>\r\n

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\r\n[caption id=\"attachment_93906\" align=\"aligncenter\" width=\"480\"]\"\" \u00ab StopStone\/TOMEISHI \u00bb (2024), gr\u00e8s color\u00e9[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Agnes Husz \u2013 Finaliste<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Condens\u00e9e en une pierre unique, cette \u0153uvre sculpturale aborde les dimensions spirituelles, rituelles et naturelles de la culture japonaise. S\u2019appuyant sur son exp\u00e9rience du Chanoyu \u2014 la c\u00e9r\u00e9monie du th\u00e9 japonaise \u2014, l\u2019artiste mobilise des processus rythm\u00e9s pour mettre en lumi\u00e8re la relation entre le soi et le monde ext\u00e9rieur.<\/p>\r\n<\/td>\r\n

Des plaques d\u2019argile, \u00e9tir\u00e9es \u00e0 la main, sont plaqu\u00e9es contre une planche puis compress\u00e9es pour former un grand cube stri\u00e9 ; une extension de la tradition japonaise du *Tomeishi*, qui consiste \u00e0 envelopper de ficelle des \u00ab pierres d\u2019arr\u00eat \u00bb sacr\u00e9es afin d\u2019\u00e9loigner les esprits malveillants. L\u2019\u0153uvre finale se pr\u00e9sente comme un appel \u00e0 faire une pause ; un \u00ab panneau d\u2019arr\u00eat \u00bb face au chaos et aux conflits violents qui marquent notre \u00e9poque. L\u2019artiste per\u00e7oit l\u2019action m\u00e9ditative comme un baume pour l\u2019\u00e2me, utilisant ce messager aux allures ancestrales pour favoriser la s\u00e9r\u00e9nit\u00e9, par le biais de l\u2019acceptation de soi dans l\u2019ici et maintenant.<\/td>\r\n<\/tr>\r\n
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IX BICMA<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93914\" align=\"alignnone\" width=\"2560\"]\"\" \u00ab Air Turbulence \u00bb (2025), porcelaine peinte aux engobes et au papier transfert[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Velimir Vukicevik - Grand Prix<\/h3>\r\n

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Prix et R\u00e9compenses 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Comp\u00e9tition internationale de la c\u00e9ramique de Mino, Japon (13\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_75127\" align=\"alignnone\" width=\"2500\"]\"\" \"The Kiln\" (2021), clay, glaze, fragments of an electric kiln. Hand-building, 1280\u00b0C.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ielizaveta PORTNOVA - Grand Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"Cette \u0153uvre est issue de ma s\u00e9rie zoomorphe abstraite, que j'ai commenc\u00e9e en 2018. Dans les \u0153uvres de cette s\u00e9rie, j'utilise \u00e0 la fois mes objets d\u00e9j\u00e0 r\u00e9alis\u00e9s et des objets d'autres auteurs. Parfois, je travaille \u00e0 partir de chutes d'anciennes \u0153uvres ou de morceaux de sculptures r\u00e9alis\u00e9es sp\u00e9cifiquement pour le projet.<\/p>\r\n

Dans l'\u0153uvre \"Kiln\", j'ai utilis\u00e9 les fragments de mon four. Nous avons fabriqu\u00e9 ce four en 2002. Une fois, une pi\u00e8ce a explos\u00e9 pendant la cuisson et a endommag\u00e9 le four. \u00c0 ce moment-l\u00e0, le four avait effectu\u00e9 plus de 500 cuissons. Des fragments de four et d'\u00e9l\u00e9ments chauffants ont \u00e9t\u00e9 incrust\u00e9s dans cette \u0153uvre.<\/p>\r\n<\/td>\r\n

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L'objet original a son propre caract\u00e8re et sa propre \u00e9nergie. J'utilise ces donn\u00e9es pour d\u00e9velopper le mat\u00e9riau d'origine jusqu'\u00e0 l'image finale. Ma t\u00e2che consiste \u00e0 visualiser l'histoire de la transformation de l'objet original en une figure zoomorphe abstraite\". (Ielizaveta Portnova)<\/p>\r\n

-- Aujourd'hui, j'ai l'impression d'\u00eatre une b\u00eate assembl\u00e9e \u00e0 partir des fragments du pass\u00e9. Le pass\u00e9 est pr\u00e9cieux mais douloureux. La guerre nous prive de notre apparence humaine. --<\/em><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_93409\" align=\"alignnone\" width=\"640\"]\"\" \"Ruins from the future\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marta PALMIERI - Prix sp\u00e9cial du jury<\/h3>\r\n

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Biennale de la C\u00e9ramique de Taiwan 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73571\" align=\"alignnone\" width=\"2560\"]\"\" \"Loop #12\" by Jing HUANG (USA\/China, IAC member since 2023)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Jing HUANG - Prix d'argent<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Loop\" est une s\u00e9rie d'\u0153uvres qui n'indiquent ni d\u00e9but ni fin, mais qui mettent l'accent sur le chemin sinueux lui-m\u00eame. Au milieu de la dislocation et de l'ambigu\u00eft\u00e9 d'\u00eatre ni ici ni l\u00e0, je m'ancre en retra\u00e7ant mon pass\u00e9 et en m'inspirant des premiers souvenirs du paysage de ma ville natale (Guilin) apr\u00e8s un long d\u00e9part. Loop\" n'est pas seulement une repr\u00e9sentation du paysage actuel ; elle refl\u00e8te les sentiments de respect et d'appr\u00e9ciation de mon pass\u00e9, de ma culture et de mes traditions. C'est un processus de recherche d'une compr\u00e9hension plus profonde de mon identit\u00e9 et de mon exp\u00e9rience dans le monde.<\/p>\r\n

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Son titre chinois, \"\u56de\", a plusieurs significations en chinois : faire le tour, reculer, se retourner, revenir. Ce caract\u00e8re pictographique unique repr\u00e9sente non seulement la forme de l'\u0153uvre, mais symbolise \u00e9galement le retour au processus lui-m\u00eame, c\u00e9l\u00e9brant mon identit\u00e9, mon pass\u00e9 et ma culture. (Jing HUANG)<\/td>\r\n<\/tr>\r\n
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5\u00e8me Prix de l'Officine Saffi<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73570\" align=\"alignnone\" width=\"2560\"]\"\" \u201cThe Twilight Landscape\u201d (2023) by Hanna Miadzvedzeva (Belarus, IAC member since 2021)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - Prix de r\u00e9sidence au Centre d'art c\u00e9ramique Gaya<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Ce travail fait partie d'une s\u00e9rie plus large d'\u0153uvres appel\u00e9es \"Landscapes\" que je r\u00e9alise depuis quelques ann\u00e9es. Dans cette s\u00e9rie, je d\u00e9peins mes sentiments \u00e0 l'\u00e9gard des lieux que je visite - nouvelles villes et r\u00e9gions, lieux naturels. J'aime particuli\u00e8rement observer les nouveaux paysages d'un point de vue a\u00e9rien, en les survolant en avion, lorsque les for\u00eats et les champs alternent les uns avec les autres pour cr\u00e9er un motif textur\u00e9 unique. La lumi\u00e8re et la nature de sa dispersion dans l'espace constituent \u00e9galement un aspect tr\u00e8s important de ma perception de l'environnement. Le cr\u00e9puscule est un \u00e9tat tr\u00e8s sp\u00e9cifique o\u00f9, dans un laps de temps assez court, il y a une transition transcendantale d'un jour lumineux \u00e0 une nuit compl\u00e8tement noire.<\/p>\r\n<\/td>\r\n

J'ai entendu dire que cette p\u00e9riode de la soir\u00e9e est consid\u00e9r\u00e9e comme la plus dangereuse pour les conducteurs en raison de ce que l'on appelle la \"c\u00e9cit\u00e9 cr\u00e9pusculaire\". Tout ce qui nous entoure semble envelopp\u00e9 d'un velours gris - d'une part, cela cr\u00e9e un effet doux et apaisant, mais d'autre part, il y a un l\u00e9ger sentiment d'anxi\u00e9t\u00e9 au fond de nous, parce que nous nous m\u00e9fions toujours de ce qui est cach\u00e9 et non \u00e9vident. C'est dans un tel \u00e9tat que m\u00eame les lieux familiers semblent changer et commencent \u00e0 \u00eatre per\u00e7us comme diff\u00e9rents, inexplor\u00e9s et pleins de myst\u00e8re. Pour traduire ma perception du paysage cr\u00e9pusculaire, j'ai choisi une forme incurv\u00e9e et autonome qui semble cacher quelque chose en elle-m\u00eame. La structure de la surface, appliqu\u00e9e en plusieurs couches avec des gouttes d'engobe de gr\u00e8s \u00e0 l'aide d'une seringue en caoutchouc, cr\u00e9e un effet enveloppant, doux et m\u00eame l\u00e9g\u00e8rement l\u00e2che. La couleur gris fonc\u00e9 de l'objet est obtenue en ajoutant des oxydes m\u00e9talliques au gr\u00e8s. (Hanna Miadzvedzeva)<\/td>\r\n<\/tr>\r\n
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2e Concours mondial de th\u00e9i\u00e8res en c\u00e9ramique<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_92999\" align=\"alignnone\" width=\"2560\"]\"\" \"SwanTeapot\" par Swanica Ligtenberg[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Swanica Ligtenberg \u2013 Prix d\u2019Excellence<\/h3>\r\n

Page membre<\/span><\/a><\/p>\r\n

Swanica entretient un lien spirituel avec la Terre-M\u00e8re, ce qui donne un sens \u00e0 la vie.
Elle aspire \u00e0 instaurer l\u2019harmonie \u00e0 travers la cr\u00e9ation d\u2019\u0153uvres en c\u00e9ramique.<\/p>\r\n<\/td>\r\n

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Son amour pour les engobes color\u00e9s et la gravure transpara\u00eet dans sa c\u00e9ramique engob\u00e9e bleue, orn\u00e9e de l'inscription \u00ab SwanTeapot \u00bb.<\/p>\r\n

- D\u00e9couvrez mes cr\u00e9ations en argile. -<\/em><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Prix et R\u00e9compenses 2023<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
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Biennale Internationale de C\u00e9ramiques Artistiques d'Aveiro (17e \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_89847\" align=\"alignnone\" width=\"640\"]\"\" \"Balance in Red\" (2023), thin plates composed of narrow strips of coloured bone China porcelain, fired in a stoneware mould, by Paula Bastiaansen.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Paula Bastiaansen - Premier Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n<\/td>\r\n

Des \u00e9l\u00e9ments distincts qui se recherchent en rouge \u2013 un \u00e9quilibre en mouvement continu et perp\u00e9tuel.<\/td>\r\n<\/tr>\r\n
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Hidemi Tokutake - Second Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\u00ab Grow \u00bb incarne la force tranquille de la nature qui pousse vers l'ext\u00e9rieur, couche apr\u00e8s couche, souffle apr\u00e8s souffle. Fa\u00e7onn\u00e9e \u00e0 la main et cuite avec des \u00e9maux superpos\u00e9s, la sculpture refl\u00e8te les rythmes invisibles de la croissance, de la d\u00e9composition et du renouveau. Elle est \u00e0 la fois un geste d'\u00e9mergence et une m\u00e9ditation sur la vie cach\u00e9e dans la terre.<\/p>\r\n

\u00ab Grow \u00bb capture la force silencieuse mais dynamique de la croissance organique. La forme est enti\u00e8rement r\u00e9alis\u00e9e \u00e0 la main, avec des marques de doigts intentionnelles laiss\u00e9es sur la surface pour faire partie de la texture, faisant \u00e9cho au mouvement de modelage et \u00e0 la pr\u00e9sence physique du cr\u00e9ateur. Inspir\u00e9e par les structures botaniques et les couches g\u00e9ologiques, la pi\u00e8ce s'\u00e9tend et se tord comme un organisme vivant.<\/p>\r\n

Au lieu de couches d'\u00e9mail, un \u00e9mail sec est appliqu\u00e9 directement \u00e0 la brosse sur la surface, ce qui permet des variations d'\u00e9paisseur cr\u00e9ant de d\u00e9licats changements de ton, de texture et de tension. Ces fluctuations \u00e9voquent l'\u00e9rosion, la s\u00e9dimentation et les rythmes stratifi\u00e9s de la nature.<\/p>\r\n

L'\u0153uvre incarne un dialogue silencieux entre le contr\u00f4le et le hasard, l'\u00e9mergence et l'\u00e9rosion, la surface et la profondeur, une m\u00e9ditation sur les forces lentes et invisibles qui fa\u00e7onnent toute mati\u00e8re vivante.<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_89854\" align=\"alignnone\" width=\"940\"]\"\" \"Grow\" (2022), Hand-built ,\u00a0middle range\u00a0, dry glaze, oxide stains, by Hidemi Tokutake.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Prix international d'art c\u00e9ramique Blanc de Chine 2023<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_89859\" align=\"alignnone\" width=\"940\"]\"\" \"Connected\" (2021), Porcelain de Limoges, 3% eggcarton, ceramic stains, by Tinne Debruijne. Photo credit: Olivier Demessemakers[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Tinne Debruijne - Premier Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

CONNECTED<\/em>: Mes sculptures naissent de mon intuition, fa\u00e7onn\u00e9es par les courbes et les rythmes que j'observe dans la nature et les \u00eatres vivants. Leurs formes sont \u00e0 la fois sensuelles et abstraites, \u00e9pur\u00e9es dans leurs lignes g\u00e9n\u00e9rales, mais complexes dans leurs textures. Elles semblent bouger tout en restant immobiles, comme l'eau qui trouve sa forme parfaite l'espace d'un instant.<\/p>\r\n

Je souhaite que les gens ressentent l'envie de les toucher, de s'en approcher.<\/p>\r\n

L'\u0153uvre doit susciter cette envie imm\u00e9diate de la tenir et de l'embrasser, de la d\u00e9couvrir avec ses mains, et pas seulement avec ses yeux.<\/p>\r\n

\u00ab Connected \u00bb combine de la porcelaine de Limoges et 3 % de papier cartonn\u00e9. Certaines sections sont color\u00e9es avec des teintures c\u00e9ramiques, puis cuites une seule fois \u00e0 1 280 \u00b0C.

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Je commence par construire la forme g\u00e9n\u00e9rale \u00e0 l'aide d'une technique de modelage au colombin, cr\u00e9ant diff\u00e9rentes formes qui fonctionnent comme de petites sculptures \u00e0 part enti\u00e8re. Ensuite, je relie ces pi\u00e8ces de mani\u00e8re intuitive, en les pla\u00e7ant dans un rythme qui semble naturel, comme si elles \u00e9taient faites pour \u00eatre ensemble.<\/p>\r\n

Travailler avec de la porcelaine de papier me donne une grande libert\u00e9. Je peux tout remodeler, voire tout d\u00e9chirer et recommencer \u00e0 z\u00e9ro si la forme ne me convient pas.<\/p>\r\n

Une fois la forme principale termin\u00e9e, j'ajoute des lamelles fines comme du papier, une par une, rang\u00e9e par rang\u00e9e, en utilisant des outils dentaires pour les placer d\u00e9licatement. Le papier cr\u00e9e une surface effiloch\u00e9e, semblable \u00e0 du tissu, qui semble \u00e0 la fois fragile et r\u00e9sistante.<\/p>\r\n

Mes pi\u00e8ces ne semblent jamais compl\u00e8tement finies. Elles restent brutes, d\u00e9licates, imparfaites. Je suis toujours \u00e0 la recherche de nouvelles textures qui s'int\u00e8grent \u00e0 la forme elle-m\u00eame, ajoutant des dimensions dont l'\u0153uvre a besoin pour sembler vivante.<\/p>\r\n

Parfaite dans son imperfection, exactement comme elle devrait l'\u00eatre.\" (Tinne Debruijne)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_89863\" align=\"alignnone\" width=\"940\"]\"\" \"End, Begin\" (2019), fabric dipped in slip, hand-built, by Ji Fan.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Fan Ji - Second Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Ce travail s'int\u00e9resse aux micro-histoires inscrites dans la m\u00e9moire personnelle, traduisant des rituels domestiques \u00e9ph\u00e9m\u00e8res en formes mat\u00e9rielles durables.<\/p>\r\n<\/td>\r\n

Les textiles, autrefois en mouvement constant \u00e0 travers les gestes de pliage, d'essuyage et de lavage, sont reconstitu\u00e9s en c\u00e9ramique, leurs textures fossilis\u00e9es en surfaces suspendues. Les g\u00e2teaux tiss\u00e9s, \u00e0 mi-chemin entre r\u00e9alit\u00e9 et fantaisie, fonctionnent comme des monuments temporels d\u00e9di\u00e9s au travail non enregistr\u00e9 et aux r\u00e9sidus affectifs de l'exp\u00e9rience v\u00e9cue. En figant ces gestes \u00e9ph\u00e9m\u00e8res, l'\u0153uvre invite \u00e0 r\u00e9fl\u00e9chir sur l'impermanence de la mati\u00e8re et les couches intimes de la m\u00e9moire.<\/td>\r\n<\/tr>\r\n
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Marta Palmieri \u2013 Deuxi\u00e8me Prix<\/h3>\r\n

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Life Cliff 2 \u00e9voque des roches, des min\u00e9raux et des vestiges industriels \u00e0 travers des formes brutes et irr\u00e9guli\u00e8res qui semblent porter les traces du temps. Les surfaces rappellent des formations g\u00e9ologiques, des fossiles et des vestiges arch\u00e9ologiques, tandis que les fissures et les fractures symbolisent des mouvements de la cro\u00fbte terrestre, refl\u00e9tant les tensions et les conflits qui fa\u00e7onnent notre plan\u00e8te. Ces formes abstraites sugg\u00e8rent une vision de l\u2019avenir dans laquelle la nature et l\u2019humanit\u00e9 sont appel\u00e9es \u00e0 trouver un nouvel \u00e9quilibre.<\/p>\r\n<\/td>\r\n

En associant l\u2019argile et le verre au sein d\u2019une composition fond\u00e9e sur la stratification et la superposition, surgissent des fragments qui \u00e9voquent les ruines de villes contemporaines. Ces formes verticales et fractur\u00e9es s\u2019\u00e9l\u00e8vent du sol telles des \u00ab vestiges urbains \u00bb, insufflant une vie nouvelle \u00e0 ce qui a \u00e9t\u00e9 rejet\u00e9 ou oubli\u00e9. L\u2019\u0153uvre invite \u00e0 une r\u00e9flexion sur la relation entre forces naturelles et artificielles, soulignant l\u2019urgence d\u2019une interaction plus durable avec notre environnement.<\/td>\r\n<\/tr>\r\n
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Miho Yatsugi - Troisi\u00e8me Prix<\/h3>\r\n

\u00ab Lorsque j'applique une pression avec mes doigts sur l'argile porcelaine fine et souple, celle-ci \u00e9pouse la courbe de mes doigts. Je relie et amplifie ces courbes. Des vagues et des rythmes apparaissent. L'argile et moi nous guidons et nous poursuivons tour \u00e0 tour tandis que nous cr\u00e9ons la forme. \u00bb (Miho Yatsugi)<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_89870\" align=\"alignnone\" width=\"475\"]\"\" \"surge\" (2021), hand-building, reduction firing at 1250 degree, by Miho Yatsugi.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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62e Prix Faenza\u00a0<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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\u00a0<\/div>\r\n[caption id=\"attachment_93014\" align=\"alignnone\" width=\"2048\"]\"\" \"Eclectic Paradise of Earth\", par Yves Malfliet[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Yves Malfiet - Prix \u200b\u200bFaenza \"Plus de 35 ans\"<\/h3>\r\n

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Yves Malfliet \u00e9volue en r\u00e9inventant constamment son travail \u00e0 travers des cr\u00e9ations ing\u00e9nieuses et stimulantes. Son processus de travail de l\u2019argile se caract\u00e9rise par le recours \u00e0 de multiples techniques qui forment un tout harmonieux.<\/p>\r\n<\/td>\r\n

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La dimension intellectuelle de l\u2019\u0153uvre conduit \u00e0 une exploration de notre soci\u00e9t\u00e9, et plus profond\u00e9ment de ses vestiges, \u00e0 travers la fusion et l\u2019effondrement apparent d\u2019objets, rassembl\u00e9s dans des bo\u00eetes o\u00f9 tout s\u2019entasse, \u00e0 la mani\u00e8re d\u2019un bric-\u00e0-brac ou de d\u00e9tritus. L\u2019\u0153uvre investit l\u2019int\u00e9gralit\u00e9 de l\u2019espace disponible (murs, table, sol) pour former une installation globale d\u2019une grande originalit\u00e9.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\u00a0<\/div>\r\n[caption id=\"attachment_93023\" align=\"alignnone\" width=\"2560\"]\"\" \"Courtyard Twilight Series IV\" (2022), par Bao Wei[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Bao Wei \u2013 Prix Faenza \"Moins de 35 ans\"<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

Les cercles concentriques \u00e9voquent un type d\u2019architecture traditionnelle du sud de la Chine, symbole de la coh\u00e9sion familiale. Une architecture qui dispara\u00eet sous la pression de l\u2019urbanisation. Cette forme architecturale abstraite se transmue en une cr\u00e9ation c\u00e9ramique. La symbolique architecturale des cercles concentriques prend corps gr\u00e2ce \u00e0 deux mat\u00e9riaux de construction fondamentaux : le bois et le loess (limon et argile).<\/p>\r\n<\/td>\r\n

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L\u2019\u0153uvre relate la relation des peuples anciens avec la nature, leur survie gr\u00e2ce \u00e0 leur sagesse, ainsi que l\u2019\u00e9quilibre entre l\u2019homme et la nature. Science, technologie et coutumes populaires s\u2019y rejoignent, t\u00e9moignant de l\u2019harmonie entre l\u2019humanit\u00e9 et la nature.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale d\u2019art c\u00e9ramique de Jingdezhen 2023<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93035\" align=\"alignnone\" width=\"2560\"]\"\" \"Untitled\" par Maria ten Kortenaar[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Maria ten Kortenaar - Prix Kaolin<\/h3>\r\n

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\r\n[caption id=\"attachment_93033\" align=\"alignnone\" width=\"2560\"]\"\" \"You May Think You Are Alone\u2026\" par Jason Walker[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Jason Walker - Prix Kaolin\u00a0<\/h3>\r\n<\/td>\r\n

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Prix et R\u00e9compenses 2021<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Comp\u00e9tition internationale de la c\u00e9ramique de Mino, Japon (12\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_64303\" align=\"alignnone\" width=\"505\"]\"\" \"Life\" by Vilma Villaverde.[\/caption]\r\n<\/td>\r\n\r\n

Vilma Villaverde - Prix d'argent<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\u201cLife\u201d <\/em>: R\u00e9cup\u00e9r\u00e9e apr\u00e8s avoir \u00e9t\u00e9 ignor\u00e9e et enfouie, une pi\u00e8ce d\u00e9couverte dans la r\u00e9gion de Shigaraki me parvient. Il s'agit d'un urinoir br\u00fbl\u00e9 dans un four noborigama, qui avait \u00e9t\u00e9 mis de c\u00f4t\u00e9 et enterr\u00e9.
La c\u00e9ramique, mat\u00e9riau noble et durable, t\u00e9moin de la persistance, s'est donn\u00e9e \u00e0 mes mains de poti\u00e8re pour \u00eatre ramen\u00e9e \u00e0 la vie et reprendre son cycle de vie en \u0153uvre d'art apr\u00e8s cent ans.
Renaissant en un nouvel objet, il se dresse comme le torse d'une femme brandissant le troph\u00e9e d'or de la gen\u00e8se.
C'est une femme, comme c'est une c\u00e9ramique, symbole indicible de la fertilit\u00e9. (Vilma Villaverde)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Biennale Internationale de la C\u00e9ramique Cor\u00e9enne \/ KICB (11\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Darien Arikoski-Johnson - Prix en Or<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"La conscience est li\u00e9e \u00e0 notre physicalit\u00e9 comme l'\u00e9mail est li\u00e9 \u00e0 l'argile. Avec cette \u0153uvre, j'explore la relation entre la conscience, la physicalit\u00e9 et la technologie. Les formes corporelles non repr\u00e9sentatives influencent la taille et la forme des composants planaires qui y r\u00e9sident, refl\u00e9tant la fa\u00e7on dont la physicalit\u00e9 affecte notre \u00e9tat cognitif. Les peintures scann\u00e9es, qui font r\u00e9f\u00e9rence \u00e0 des souvenirs, sont manipul\u00e9es num\u00e9riquement et rendues floues \u00e0 la surface. La question est de savoir comment la technologie influence notre m\u00e9moire, notre perception et notre exp\u00e9rience du monde.\" (Darien Arikoski-Johnson)<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_68311\" align=\"alignnone\" width=\"1200\"]\"\" \"Fragmented Framing\" by Darien Arikoski-Johnson[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_68337\" align=\"alignnone\" width=\"2185\"]\"\" \"Homunculus LR\" (2020), ceramic and glaze, slab building, by Cho Ming-Shun.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ming-Shun Cho - Prix en Or<\/h3>\r\n

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\"Les th\u00e9i\u00e8res ne sont pas de simples objets, mais des \u00e9pisodes. Alors qu'elles sont des objets fonctionnels statiques pos\u00e9s sur des tables, lorsque les gens les utilisent, le lien entre la mati\u00e8re organique et inorganique est enrichissant, car l'interaction g\u00e9n\u00e8re de l'\u00e9motion.<\/p>\r\n

En pr\u00e9parant le th\u00e9, les gens d\u00e9couvrent un lien profond avec leur th\u00e9i\u00e8re, qui s'apparente \u00e0 la relation entre un homme et son animal de compagnie. Un lien \u00e9troit se cr\u00e9e dans l'union d\u00e9licate entre une main et une poign\u00e9e, li\u00e9e par la chaleur de la vie dans la th\u00e9i\u00e8re. Je ch\u00e9ris cette relation entre l'humanit\u00e9 et nos ustensiles.<\/p>\r\n<\/td>\r\n

Cette symbiose fait \u00e9voluer les caract\u00e9ristiques d'une th\u00e9i\u00e8re. Une th\u00e9i\u00e8re et une main se combinent pour donner naissance \u00e0 une nouvelle vie ; la main fait partie de la th\u00e9i\u00e8re, et la th\u00e9i\u00e8re fait partie de la main. Cette relation symbiotique est une nouvelle relation entre les th\u00e9i\u00e8res et les humains ; ainsi, la th\u00e9i\u00e8re a des pieds qui marchent et un mouvement \u00e9motionnel qui en font des \u00e9pisodes temporels plut\u00f4t que des objets statiques.\" (Ming-Shun Cho)<\/td>\r\n<\/tr>\r\n
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Biennale Internationale de C\u00e9ramiques Artistiques d'Aveiro (16\u00e8me \u00e9dition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68318\" align=\"alignnone\" width=\"2250\"]\"\" \"Big Smile\", 42 x 40 x 21cm, stoneware and porcelain, oxide and pigments, by Ellen van der Woude.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ellen van der Woude - Premier Prix<\/h3>\r\n

Page membre<\/a><\/span><\/p>\r\n

\"La nature est d'une importance fondamentale. Mes sculptures sont le reflet de mon observation attentive et de mon lien avec le monde naturel, sa r\u00e9silience et sa fragilit\u00e9, tout en reconnaissant les liens perdus entre l'humanit\u00e9 et la nature. Je rends hommage au monde naturel et j'esp\u00e8re rappeler aux gens de ralentir, de se reconnecter \u00e0 la nature et de contribuer \u00e0 sa conservation.<\/p>\r\n<\/td>\r\n

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Travaillant de mani\u00e8re intuitive, je combine diff\u00e9rents types d'argile et de porcelaine pour cr\u00e9er des sculptures imaginatives qui rappellent la vie sous-marine ou la flore florissante. Plut\u00f4t que de me fier aux \u00e9maux, je manipule les textures, je teinte les oxydes et je colore l'argile pour ajouter un int\u00e9r\u00eat visuel et tactile. Toutes mes \u0153uvres sont fabriqu\u00e9es \u00e0 la main, ce qui fait qu'elles sont toutes uniques.<\/p>\r\n

La s\u00e9rie Big Smile a \u00e9t\u00e9 cr\u00e9\u00e9e apr\u00e8s un long hiver sombre. Aspirant \u00e0 la lumi\u00e8re et au soleil, je voulais cr\u00e9er quelque chose de plein de bonheur et d'\u00e9nergie, quelque chose qui vous fasse sourire et vous rappelle toutes les bonnes choses que la vie a \u00e0 offrir.\" (Ellen van der Woude)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_68329\" align=\"alignnone\" width=\"1700\"]\"\" \"ETA 24.06\" by Marie-Jos\u00e9e Comello. \u00a9 Eric Smeets - Fotografie[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marie-Jos\u00e9e Comello - Second Prix<\/h3>\r\n

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\"ETA est une abr\u00e9viation utilis\u00e9e dans l'aviation et signifie \"Estimated Time of Arrival\" (heure d'arriv\u00e9e pr\u00e9vue).<\/p>\r\n

ETA 24.06 fait donc r\u00e9f\u00e9rence \u00e0 une heure d'arriv\u00e9e fictive.<\/p>\r\n

Pour ce travail, je me suis int\u00e9ress\u00e9e au \"Meantime\", le moment entre l'\u00e9veil et le sommeil, la zone cr\u00e9pusculaire entre le jour et la nuit.<\/p>\r\n

Cela fait r\u00e9f\u00e9rence \u00e0 l'incapacit\u00e9 de retenir le temps, qui est insaisissable lorsque l'on veut le saisir.<\/p>\r\n<\/td>\r\n

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Les recherches sur notre pass\u00e9 et notre avenir nous fournissent des connaissances qui nous permettent de comprendre notre place dans le temps et l'espace.<\/p>\r\n

Ma recherche porte sur la perturbation de ce savoir, \u00e0 partir de la fascination pour les fragments ; je suis curieuse des parties absentes, des histoires encore inachev\u00e9es et surtout du vide qu'un fragment porte en lui.<\/p>\r\n

Il s'agit de la fronti\u00e8re entre le connu et l'inconnu, la zone cr\u00e9pusculaire.<\/p>\r\n

Il y a le silence sur la ligne de partage des significations\". (Marie-Jos\u00e9e Comello)<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

 <\/p>","_fr_post_name":"prix-et-recompenses","_fr_post_excerpt":"Cette page est d\u00e9di\u00e9e aux prix et r\u00e9compenses que les membres de l'Acad\u00e9mie remportent lors de prestigieuses comp\u00e9titions internationales.","_fr_post_title":"Prix et R\u00e9compenses","_en_post_content":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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This page highlights the prizes and awards earned by members of the International Academy of Ceramics, celebrating excellence, innovation, and lasting contributions to the field of contemporary ceramics worldwide.<\/p>\r\n<\/td>\r\n

Due to the growing membership and the increasing number of prizes, this page focuses on awards won in the last five years.<\/span><\/td>\r\n<\/tr>\r\n
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Prizes and Award 2026<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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Gyeonggi Ceramics Biennale<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93921\" align=\"alignnone\" width=\"2275\"]\"\" \"Squaring the Circle.\" (2025), ceramic, stoneware and metal hardware. \u00a9 Gyeonggi Museum of Contemporary Ceramic Art (GMoCCA)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Eliza Au - GCB Excellence Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

Squaring the Circle is a large-scale hanging ceramic installation, consisting of hundreds of individual ceramic pieces. This work reflects my research on ornamentation and architecture of sacred spaces, such as cathedrals, temples and mosques.\u00a0<\/p>\r\n<\/td>\r\n

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My intent is not to reference a specific religion, but to bring attention to the common composition of these spaces, which reflect a symmetrical, radial or grid layout.\u00a0<\/p>\r\n

These layouts are commonly seen in other religious artifacts, such as Tibetan mandalas and Islamic tile patterns. By drawing attention to this aspect, I hope to convey that all cultures and peoples have used pattern and architecture to understand concepts of divinity.\u00a0<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_93926\" align=\"alignnone\" width=\"1549\"]\"\" \"The Bust\" (2025), stoneware, glazes. \u00a9 Korea Ceramic Foundation (KOCEF)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Yuriy Musatov - GCB Excellence Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

In my sculptural practice, I explore otherness as a form of presence beyond conventional human perception. This sculpture reinterprets the classical bust, removing its traditional portrait function. The absence of facial features and individual characteristics transforms the figure into a generalized image of existence.

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The form remains recognizable as humanoid, yet resists identification as human. It becomes a vessel of otherness, questioning how we perceive and recognize identity.
Rather than depicting a specific person, the sculpture captures a state of presence beyond individuality and time. Through ceramics, I explore the boundary between the human and the unknown, transforming the bust into an abstract model of existence.<\/td>\r\n<\/tr>\r\n
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6th Officine Saffi Awards<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93931\" align=\"alignnone\" width=\"2048\"]\"\" \"iThwasa (The One Who is Blossoming)\" (2024), glazed earthenware (hand-coiled), cow. Image courtesy of Fondazione Officine Saffi[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Andile Dyalvane - Primo Premio<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

iThwasa (The One Who Is Blossoming) (2024) forms part of the collaborative iNtwaso series by Andile Dyalvane and Nkuthazo Alexis Dyalvane, which explores the spiritual journey of initiation towards becoming an \u2018igqirha\u2019 (traditional Xhosa healer). The vessel embodies a state of becoming: a threshold between ancestral inheritance and lived experience, where healing begins through listening, learning, and the transmission of knowledge across generations.\u00a0<\/p>\r\n<\/td>\r\n

Its ceramic form is adorned with cow hair, leather, and grass, referencing ritual regalia worn during initiation and signalling an evolving relationship between body, spirit, and community. Rooted in Xhosa cosmology while resonating with universal experiences of transformation, iThwasa positions clay as a living repository of memory and care. Rather than treating belonging as a \ufb01xed condition, the work understands it as something continually cultivated through ritual, kinship, and the shared inheritance of knowledge.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93935\" align=\"alignnone\" width=\"1828\"]\"\" Ecdysis 6 (2024), porcelain and different ceramic glazes[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Trude Westby Nordmark - Guldagergaard Residency Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

Ecdysis 6 explores \"forms of belonging\" through the transformative capacities of porcelain. The title refers to ecdysis, the biological process of shedding an outer layer to enable growth, serving as a material metaphor for how forms evolve and reorganize. Here, belonging is not a social condition, but a state embedded in matter: a negotiation between surfaces, structures, and the forces acting upon them.

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The sculpture utilizes a modular construction where each porcelain unit functions like a cell within a larger organism. Through repetition and rhythm, these modules form complex formations and layers of meaning. Porcelain\u2019s unique responsiveness, its plasticity, fragility, and shrinkage during firing, determines how these units interact. Their points of contact become sites of transformation, echoing the moment an organism outgrows its skin.<\/td>\r\n<\/tr>\r\n
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Jingdezhen International Ceramic Art Biennale<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93940\" align=\"alignnone\" width=\"2560\"]\"\" \"Cycus Llamelae\" from The Seed Pod Collection (2024), porcelain. \u00a9 Sylvain Deleu[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Corrie Bain - Guozhong Emerging Artist Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

My work explores the fragility and resilience of life, the urgency of the climate crisis, and the persistence of natural cycles despite human interference. It is a translation of biological systems into emotional and conceptual forms, bringing together sculptural ceramics, organic structures, and ideas surrounding ecology and human experience.\u00a0<\/p>\r\n<\/td>\r\n

There is a deeper political undercurrent within my practice, which is becoming increasingly explicit as I connect the conceptual foundations of the Seed Pod Series with more figurative and socio-political themes, including climate change, migration and collective grief. Ultimately, each piece becomes a meditation on life, form and fragility.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93946\" align=\"alignnone\" width=\"1155\"]\"\" \"Breasts\" (2025), porcelain, wood, rubber, thread, metal[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ilias Christopoulos - Guozhong Emerging Artist Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

Breasts
Matter as body. Porcelain as skin.
In Breasts, materiality speaks \u2013 it becomes a vessel of memory, femininity, and vulnerability.
Porcelain, cool to the touch yet radiant in light, transforms into skin that remembers, into a surface that carries traces of presence and absence.

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The form of the breast, archetypal and familiar, rises from the material to express what language struggles to hold \u2013 loss, fear, and rebirth. Materiality here is not merely technique but experience: it is the touch that heals, the fracture that reveals, the transformation that gives meaning.
Through porcelain, the work becomes a tribute to all women who have lived through breast cancer \u2013 those who fought, those who triumphed, and those who left behind light. The material, fragile yet eternal, becomes the medium through which life itself insists on being felt, seen, and remembered.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_93950\" align=\"alignnone\" width=\"2560\"]\"\" Hollowed-out divinity (2025), porcelain, stainless steel, optical axis, concrete[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Du Zhehan - Guozhong Emerging Artist Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

This work fuses ceramics with metal, breaking the fixed perception of cultural symbols. The \"reconstruction\" of tradition is both a tribute to history and its deconstruction and reconfiguration.\u00a0<\/p>\r\n<\/td>\r\n

The hollowing, cracking and peeling effects produced by the two heterogeneous materials on the deity statues symbolize the energy and tension released by the slices of historical culture in the contemporary context.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93956\" align=\"alignnone\" width=\"2560\"]\"\" Breaking the Impasse \u2013 Yang (\u7834\u5c40-\u739a) (2026), porcelain and minerals[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Wang Ronghui - Guozhong Emerging Artist Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

Ceramic clay is one of the earliest materials through which human beings have connected with the world, embodying the origins of our sensory experiences, artistic practices, and material culture. In today\u2019s digital age, technological progress increasingly distances us from the sensory knowledge and aesthetic values rooted in our relationship with nature.\u00a0<\/p>\r\n<\/td>\r\n

Through an exploration of the fundamental language of ceramics, Breaking the Impasse seeks to challenge established conventions of form, material, and technique, reopening a space for a more direct and personal encounter between the human body and clay\u2014one that precedes predefined norms and expectations.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93961\" align=\"alignnone\" width=\"2560\"]\"\" \"Min Nong - Grain Illusion\" (2025), white pottery, porcelain, time-lapse video, wood planks, acrylic[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Weier Qiu - Kaolin Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

The MinNong series reinterprets the narrative of the classic poem Two Ballads of MinNong. Entitled Grain Illusion, this work takes inspiration from the line \u201cEach grain comes from bitter toil\u201d. Viewing grain through the perspective of labour, the artist reconsiders its dual nature, reflects on agricultural hardship, and explores the dialectic between the value of labour and futile effort.\u00a0<\/p>\r\n<\/td>\r\n

The full rice-growing cycle of one farming season is translated into 19,017 individual ceramic test tiles, a number corresponding to the harvested grains. These elemental ceramic pieces echo the farmers\u2019 basic yield. Paired with footage documenting the arduous, prolonged labour, the installation unfolds a meditation on repetitive and seemingly meaningless toil.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93995\" align=\"alignnone\" width=\"1280\"]\"\" Hold the Line! (2026), 3D-printing, porcelain cast in plaster molds[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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J\u00f8rgen Frederik Scheel Haarstad - Kaolin Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

I am an artist and musician. My artistic expression is particularly influenced by more than 25 years of working as a professional drummer. In my artistic practice, I explore and experiment with ceramics as an audiovisual material. I use ceramics to create sound objects and to produce sound in visual performances. I search for the uniqueness and sound potential of each individual ceramic object by manipulating the movement of the objects to produce sound.

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Improvisation and experimentation guide this process. I want to end up in a place I could not see before I started. I want to surprise myself. In my work with clay, the driving force is the dynamic process that emerges through the interaction between the material and my treatment of it. I want the form to evolve along the way, freeing myself from a specific idea, trusting the process and seeking an experimental expression.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93965\" align=\"alignnone\" width=\"2560\"]\"\" \"Loop #18\" (2025), glazed stoneware[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Huang Jing - Dowstone Art Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

\u2018Loop\u2019 is a series of works that indicate no beginning or end, but emphasize the winding path itself. Amid the dislocation and ambiguity of being neither here nor there, I anchor myself by tracing my past and drawing inspiration from my hometown Guilin\u2019s landscape after a long departure.\u00a0<\/p>\r\n<\/td>\r\n

\u2018Loop\u2019 represents the landscape and mirrors my respect for my past, culture, and tradition. Its Chinese title, \u2018\u56de,\u2019 means to circle, to return, and to turn around. This pictographic character represents the form of the work and symbolizes a return to the process itself, celebrating my identity, past, and culture.<\/td>\r\n<\/tr>\r\n
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27th Mino Chawan Competition<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93970\" align=\"alignnone\" width=\"860\"]\"\" The Dancing Queen (2025), porcelain fired in Anagama[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Teck Heng Alvin Tan - Gold Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

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Porcelain has always been highly regarded and is a difficult clay type to handle, hence \"Queen\". The fire in the anagama twisted the shape of the bowl as if it is dancing, hence \"The Dancing Queen\".\u00a0<\/td>\r\n<\/tr>\r\n
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Prizes and Award 2025<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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International Biennale of Artistic Ceramics of Aveiro<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93886\" align=\"alignnone\" width=\"2560\"]\"\" \"Rainy day\" (2024), stoneware,\u00a0oxide-colored porcelain,\u00a0glaze[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - First Prize<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

This sculpture is part of my larger series, Landscapes, in which I explore how environmental conditions affect our perception and physical experience of being immersed in nature.\u00a0<\/p>\r\n<\/td>\r\n

In this work, I sought to evoke a grey, rainy day, when heavy clouds hang low over the earth and their weight seems almost tangible.\u00a0To convey this sensation, I combined an inflated, cloud-like form with slender legs and a distinctive, loose surface structure developed through my own technique. The sculpture\u2019s body is hand-built from stoneware clay, while its textured surface is created by applying successive layers of small droplets of slip made from the same clay.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93893\" align=\"alignnone\" width=\"1086\"]\"\" \"White Flowers Still Life\" (2023), unglazed porcelain[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Fernando Garc\u00e9s - Second Prize<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

My work is rooted in the ceramic tradition, in the simplicity of its forms and in a deep understanding of materials and techniques. Working with wheel-thrown porcelain, I explore the expressive possibilities of these essential forms, seeking to transcend their functional origins and give them new artistic meanings.<\/p>\r\n

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In White Flowers Still Life, I reinterpret the pictorial tradition of still life through a sculptural composition. The interplay of volumes, light and shadow, together with subtle variations of white, creates a dialogue between the objects and the space around them.<\/p>\r\n

The unglazed porcelain reveals the natural qualities of the material, while traditional pottery techniques become new means of artistic expression.<\/p>\r\n

I am interested in the connection between tradition and contemporary art, as well as the ability of simple forms to create balance, silence and contemplation.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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63rd Faenza Prize<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_92986\" align=\"alignnone\" width=\"1417\"]\"\" \"November\" (2024), stoneware[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - Faenza Award Over 35<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

\"This is a sculpture from the larger Landscapes series, in which I explore how our sense of self changes in different spaces and under the influence of different natural factors. November landscape for me is associated with a state of complete defenselessness, when trees stand with bare branches in the wind, you want to shiver and wrap yourself in something warm and soft. This is the time to prepare for winter, find inner strength, and make plans for the future.\"<\/p>\r\n

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The base of the sculpture is formed by hand from plastic stoneware clay. The surface structure is created by applying drops of slip from the same clay. One electric firing at 1250\u00b0C.<\/td>\r\n<\/tr>\r\n
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\r\n[caption id=\"attachment_93402\" align=\"alignnone\" width=\"640\"]\"\" \"Rovine\" (2024), earthenware, porcelain, glass, metal[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marta PALMIERI - Chamber of Deputy Award<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

\"Ruins' emerges from silence, exploring the city as fragmented memory and archaeology of the future. Ceramic and glass structures, imprisoned in baked and then broken earthen shells, reveal forms where a new nature emerges among incrustations and material stratifications.\u00a0<\/p>\r\n<\/td>\r\n

An apocalyptic archeology narrates abstract spaces, symbolising the deterioration of communication and the uncontrolled trasformation of reality that becomes a metaphor for loss and distance.\u00a0<\/td>\r\n<\/tr>\r\n
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Ceramic Art Andenne 2025<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93501\" align=\"alignnone\" width=\"2560\"]\"\" \"Floating Dream\" (2025), painted porcelain[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Velimir VUKICEVIC - Grand Prize\u00a0<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n<\/td>\r\n

I want to make an object that has a formula of its own and speak its own language, creating a dialogue that did not exist before.<\/td>\r\n<\/tr>\r\n
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Loewe Craft Prize 2025<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93902\" align=\"alignnone\" width=\"2048\"]\"\" \"Sandcastle\", glazed stoneware[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Anina Major - Finalist<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n<\/td>\r\n

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\r\n[caption id=\"attachment_93906\" align=\"alignnone\" width=\"480\"]\"\" \"StopStone\/TOMEISHI\" (2024), coloured stoneware[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Agnes Husz - Finalist<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

Condensed into a single stone, this sculptural work touches on spiritual, ritual, and natural aspects of Japanese culture. Drawing from her experience with Chanoyu, or Japanese tea ceremonies, the artist harnesses rhythmic processes to bring the relationship between both the self and the outer world to the fore.<\/p>\r\n

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Hand-stretched slabs of clay are slapped onto a board, then compressed to form a large, striated cube; an expansion of the Japanese tradition of Tomeishi, which sees sacred 'stop stones' wrapped in twine to ward off malicious spirits. The final form stands as a plea for pause; a 'stop sign' for the chaos and violent conflicts that beset the modern era. The artist sees meditative action as a balm for the soul, using this ancient-looking messenger to nurture calm through self-acceptance in the here and now.<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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IX BICMA<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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\u00a0<\/div>\r\n[caption id=\"attachment_93914\" align=\"alignnone\" width=\"2560\"]\"\" \"Air Turbulence\" (2025), porcelain painted with engobes and transfer paper[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Velimir Vukicevik - Grand Prix<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n<\/td>\r\n

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Prizes and Award 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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13th International Ceramics Competition Mino, Japan<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_75127\" align=\"alignnone\" width=\"2500\"]\"\" \"The Kiln\" (2021), clay, glaze, fragments of an electric kiln. Hand-building, 1280\u00b0C.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Ielizaveta PORTNOVA - Grand Prix<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

\"This work is from my abstract zoomorphic series, which I started in 2018. In the works of this series I use both my previously made objects and objects of other authors. Sometimes I work from scraps of old works or from pieces of sculptures made specifically for the project<\/p>\r\n

In the work \u201cKiln\u201d I used the fragments of my kiln. We made this kiln in 2002. Once, one piece exploded during firing and damaged the kiln. By this time, the kiln had completed more than 500 firings. Fragments of a kiln and heating elements were inlaid into this work.<\/p>\r\n<\/td>\r\n

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The original object has its own character and energy. I use this data to develop the source material into the final image. My task is to visualize the history of transformation of the original object into an abstract zoomorphic figure.\" (Ielizaveta Portnova)<\/p>\r\n

-- Now I feel like this beast assembled from the fragments of the past. The past is valuable but painful. War deprives us of our human appearance. --<\/em><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\r\n[caption id=\"attachment_93409\" align=\"alignnone\" width=\"640\"]\"\" \"Ruins from the future\"[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Marta PALMIERI - Special Judges' Award<\/h3>\r\n

Member page<\/a><\/p>\r\n

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2024 Taiwan Ceramics Biennale<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73571\" align=\"alignnone\" width=\"2560\"]\"\" \"Loop #12\" by Jing HUANG (USA\/China, IAC member since 2023)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Jing HUANG - Silver Award<\/h3>\r\n

Membre page<\/a><\/span><\/p>\r\n

\u2018Loop\u2019 is a series of works that indicate no beginning or end, but places an emphasis on the winding path itself. Amid the dislocation and ambiguity of being neither here nor there, I anchor myself by tracing my past and taking inspiration from the early memory of my hometown (Guilin)\u2019s landscape after a long departure. \u2018Loop\u2019 is not only a representation of the actual landscape; it mirrors the feelings of respect and appreciation for my past, culture and tradition. It\u2019s a process of seeking a deeper understanding of my identity and experience in the world.<\/p>\r\n<\/td>\r\n

Its Chinese title, '\u56de,' has several meanings in Chinese: to circle, to step back, to turn around, to return. This unique pictographic character not only represents the form of the work but also symbolizes the return to the process itself, celebrating my identity, past, and culture. (Jing HUANG)<\/td>\r\n<\/tr>\r\n
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5th Officine Saffi Award<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_73570\" align=\"alignnone\" width=\"2560\"]\"\" \u201cThe Twilight Landscape\u201d (2023) by Hanna Miadzvedzeva (Belarus, IAC member since 2021)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Hanna Miadzvedzeva - Residency Prize Gaya Ceramic Arts Center<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

This work is part of a larger series of works called \"Landscapes\" that I've been doing for the last couple of years. In the series, I portray my feelings about the places I visit - new cities and regions, natural places. I especially like observing new landscapes from a bird's eye view, flying over them with an airplane, when forests and fields alternate with each other to create a unique textural pattern. Also a very important aspect of my perception of the surrounding area is light and the nature of its dispersion in space. Twilight is a very specific state, when in a fairly short period of time there is a transcendental transition from bright day to completely dark night.<\/p>\r\n<\/td>\r\n

I heard that this period of the evening is considered the most dangerous for drivers because of the so-called \"twilight blindness\". Everything around us seems to be wrapped in a gray velvet - on the one hand it creates a soft, calming effect, but on the other hand there is a slight feeling of anxiety deep inside, because we are always suspicious of things that are hidden and not obvious. It is in such a state that even familiar places seem quite changed and begin to be perceived as different, unexplored and full of mystery. To convey my sense of the twilight landscape, I chose a self-contained, curved shape that feels like it's hiding something within itself. The structure on the surface, applied in several layers with drops of stoneware slip with a rubber syringe, to create an enveloping, soft and even slightly loose effect. The dark gray color of the object is achieved by adding metal oxides to the stoneware. (Hanna Miadzvedzeva)<\/td>\r\n<\/tr>\r\n
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2nd World Ceramic Teapot Competition<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_92999\" align=\"alignnone\" width=\"2560\"]\"\" \"SwanTeapot\" by Swanica Ligtenberg (Netherlands, IAC member since 2021)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
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Swanica Ligtenberg - Excellence Award<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

Swanica finds a spiritual connection with Mother Earth which gives meaning to life.\u00a0
She wants to bring harmony through the creation of ceramic art.<\/p>\r\n

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Her love for the colored slips and engraving shows in her blue slipware engraved \"SwanTeapot\".<\/p>\r\n

- Enjoy my expressions in clay art. -<\/em><\/span><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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\u00a0<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Prizes and Award 2023<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

International Biennale of Artistic Ceramics of Aveiro (17th edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_89847\" align=\"alignnone\" width=\"640\"]\"\" \"Balance in Red\" (2023), thin plates composed of narrow strips of coloured bone China porcelain, fired in a stoneware mould, by Paula Bastiaansen.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Paula Bastiaansen - 1st Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n<\/td>\r\n

Separate elements that seek one another in red \u2013 a balance in continuous, perpetual motion.\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Hidemi Tokutake - 2nd Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

'Grow' embodies the quiet force of nature as it pushes outward\u2014layer by layer, breath by breath. Formed by hand and fired with layered glazes, the sculpture reflects unseen rhythms of growth, decay, and renewal. It is both a gesture of emergence and a meditation on the hidden life within the earth.<\/p>\r\n

'Grow' captures the silent yet dynamic force of organic growth. The form is entirely hand-built, with intentional finger marks left on the surface to become part of the texture\u2014echoing the motion of shaping and the bodily presence of the maker. Inspired by botanical structures and geological layering, the piece expands and twists like a living organism.<\/p>\r\n

Instead of layered glazes, a dry glaze is brushed directly onto the surface, allowing variations in thickness to create delicate shifts in tone, texture, and tension. These fluctuations evoke erosion, sedimentation, and the layered rhythms of nature.
The work embodies a quiet dialogue between control and chance, emergence and erosion, surface and depth\u2014a meditation on the slow, invisible forces that shape all living matter.<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_89854\" align=\"alignnone\" width=\"940\"]\"\" \"Grow\" (2022), Hand-built ,\u00a0middle range\u00a0, dry glaze, oxide stains, by Hidemi Tokutake.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
<\/td>\r\n<\/tr>\r\n
\r\n

Blanc de Chine International Ceramic Art Award 2023<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_89859\" align=\"alignnone\" width=\"940\"]\"\" \"Connected\" (2021), Porcelain de Limoges, 3% eggcarton, ceramic stains, by Tinne Debruijne. Photo credit: Olivier Demessemakers[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Tinne Debruijne - 1st Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

CONNECTED<\/em>: \"My sculptures grow from intuition, shaped by the curves and rhythms I see in nature, in living things. The forms feel both sensual and abstract, clean in their larger lines yet complex in their textures. They seem to move while staying still, like water that finds its perfect shape for just one moment.<\/p>\r\n

I want people to feel drawn to touch them, to come closer. The work should create that immediate urge to hold and embrace, to experience it through your hands, not just your eyes.<\/p>\r\n

\"Connected\" combines Limoges porcelain with three percent egg board paper. Some sections are colored with ceramic stains, then single fired to 1280\u00b0C.<\/p>\r\n<\/td>\r\n

\r\n

I start by building the overall form using a coiling technique, creating different shapes that work as small sculptures on their own. Then I connect these pieces intuitively, placing them in a rhythm that feels natural, like they belong together.<\/p>\r\n

Working with paper porcelain gives me freedom. I can reshape everything, even tear it apart completely and start fresh if the form isn't right.<\/p>\r\n

Once the main form is complete, I add paper-thin slats one by one, row by row, using dental tools to place them delicately. The paper creates this frayed, textile-like surface that feels both fragile and strong.<\/p>\r\n

My pieces never look completely finished. They stay raw, delicate, imperfect. I'm always searching for new textures that become part of the shape itself, adding dimensions that the work needs to feel alive.<\/p>\r\n

Perfect in its imperfection, exactly as it should be.\" (Tinne Debruijne)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_89863\" align=\"alignnone\" width=\"940\"]\"\" \"End, Begin\" (2019), fabric dipped in slip, hand-built, by Ji Fan.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Fan Ji - 2nd Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

This work engages with the micro-histories inscribed within personal memory, translating ephemeral domestic rituals into enduring material forms.\u00a0<\/p>\r\n<\/td>\r\n

Textiles\u2014once ceaselessly in motion through acts of folding, wiping, and washing\u2014are reconstituted in ceramic, their textures fossilised into suspended surfaces.\u00a0 The woven cakes, poised between reality and fantasy, function as temporal monuments to unrecorded labour and the affective residues of lived experience. In freezing these fleeting gestures, the work invites reflection on the impermanence of material and the intimate layers of memory.<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\"\"<\/td>\r\n<\/tr>\r\n
\r\n

Marta Palmieri - 2nd Prize\u00a0<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

\u00a0Life Cliff 2 evokes rocks, minerals, and industrial remnants through rough, irregular forms that seem to carry the traces of time. The surfaces recall geological formations, fossils, and archaeological remains, while cracks and fractures symbolize shifts in the Earth's crust, reflecting the tensions and conflicts that shape our planet. These abstract forms suggest a vision of the future in which nature and humanity are called to find a new balance.<\/p>\r\n

 <\/p>\r\n<\/td>\r\n

By combining clay and glass in a composition built on layering and overlapping, fragments emerge that resemble the ruins of contemporary cities. The vertical,\u00a0fractured shapes rise from the ground like \u201curban relics,\u201d breathing new life into what has been discarded or forgotten. The work invites reflection on the\u00a0relationship between natural and artificial forces, emphasizing the urgency of a more sustainable interaction with our environment.<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Miho Yatsugi - 3rd Prize<\/h3>\r\n

\"When I apply pressure with my fingers to the fine-grained, supple porcelain clay, it takes on the curve of my fingers. I connect and amplify those curves. Waves and rhythms emerge. The clay and I take turns guiding and chasing each other as we create the form.\" (Miho Yatsugi)<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_89870\" align=\"alignnone\" width=\"475\"]\"\" \"surge\" (2021), hand-building, reduction firing at 1250 degree, by Miho Yatsugi.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
<\/td>\r\n<\/tr>\r\n
\r\n

62nd Faenza Prize<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93014\" align=\"alignnone\" width=\"2048\"]\"\" \"Eclectic Paradise of Earth\", by Yves Malfliet (Belgium, IAC member since 2013)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Yves Malfliet - Faenza Prize Over 35<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

Yves Malfliet evolves by constantly reinventing his work through witty and stimulating
creations. The process of working with clay is characterised by multiple techniques that create a harmonious whole.\u00a0<\/p>\r\n<\/td>\r\n

The intellectual aspect of the work leads to an investigation of our society and, more profoundly, of the remnants of society, through the fusion and apparent collapse of objects, enclosed in boxes in which everything is piled up, like bric-\u00e0-brac or rubbish. The work encompasses the entire space given: wall, table, floor in a total installation of great originality.\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_93023\" align=\"alignnone\" width=\"2560\"]\"\" \"Courtyard Twilight Series IV\" (2022), by Bao Wei (Chine, IAC member since 2023)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Bao Wei - Faenza Prize Under 35<\/h3>\r\n

Member page<\/span><\/a><\/p>\r\n

The concentric circles suggest a type of traditional architecture in southern China that refers to family cohesion. An architecture that is disappearing under the pressure of urbanisation. This abstract form of architecture becomes a ceramic creation. The architectural symbolism of concentric circles takes shape thanks to two main architectural materials, wood and loess (silt and clay).\u00a0<\/p>\r\n<\/td>\r\n

The work narrates the relationship of ancient peoples with nature, their survival through their wisdom and the balance between man and nature. Science, technology and folk customs come together, reflecting on the harmony between mankind and nature.<\/td>\r\n<\/tr>\r\n
<\/td>\r\n<\/tr>\r\n
\r\n

2023 Jingdezhen Ceramic Art Biennale<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_93035\" align=\"alignnone\" width=\"2560\"]\"\" \"Untitled\" by Maria ten Kortenaar (IAC member since 2017)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Maria ten Kortenaar - Kaolin Prize<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_93033\" align=\"alignnone\" width=\"2560\"]\"\" \"You May Think You Are Alone\u2026\" by Jason Walker (IAC member since 2025)[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Jason Walker - Kaolin Prize<\/h3>\r\n<\/td>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

Prizes and Award 2021<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
\r\n

The 12th International Ceramics Competition Mino, Japan<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_64303\" align=\"alignnone\" width=\"505\"]\"\" \"Life\" by Vilma Villaverde.[\/caption]\r\n<\/td>\r\n\r\n

Vilma Villaverde - Silver Award<\/h3>\r\n

Member page<\/a><\/span><\/p>\r\n

\u201cLife\u201d<\/em>: Recovered after being disregarded and lying underground, a piece discovered in the Shigaraki area comes to my hands. It is a urinal burned in a noborigama kiln, that had been cast aside and buried.
Ceramics, enduring noble material, witness of persistence, gave itself to my potter hands to be taken back to life and resume its cycle of life into a work of art after one hundred years' time.
Reborn into a new object, it stands as the torso of a woman holding up the golden trophy of genesis.
It is a woman, as it is ceramics, unutterable symbol of fertility. (Vilma Villaverde)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n<\/tr>\r\n
<\/td>\r\n<\/tr>\r\n
\r\n

Korean International Ceramic Biennale (11th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n

Darien Arikoski-Johnson - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Consciousness is bound to our physicality much like glaze is bound to clay. With which I explore the relationship between consciousness, physicality, and technology. \u00a0 Nonrepresentational bodily forms influence the size and shape of planar components that reside on them, mirroring how physicality affects our cognitive state.\u00a0 Scanned paintings, which reference memories, are digitally manipulated and fuzzed to the surface. Asking how technology influences our memory,\u00a0 perception, and experience of the world.\" (Darien Arikoski-Johnson)<\/p>\r\n<\/td>\r\n

\r\n[caption id=\"attachment_68311\" align=\"alignnone\" width=\"1200\"]\"\" \"Fragmented Framing\" by Darien Arikoski-Johnson[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_68337\" align=\"alignnone\" width=\"2185\"]\"\" \"Homunculus LR\" (2020), ceramic and glaze, slab building, by Cho Ming-Shun.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Ming-Shun Cho - Gold Prize<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Teapots are not merely objects, but episodes. While they are static functional objects on tables, when people use them the connection between organic and inorganic matter is enriching as interaction generates emotion.<\/p>\r\n

While brewing tea, people discover a profound connection with their teapot \u2014 akin to human-pet relationships. A close bond is created in the delicate union between a hand and handle, linked by the heat of life in the teapot. I cherish this relationship between humanity and our utensils.<\/p>\r\n<\/td>\r\n

This symbiosis evolves a teapot\u2019s lifelike characteristics. A teapot and a hand combine to bring out a new life; the hand is a part of the teapot, and the teapot is a part of the hand. This symbiotic relationship is a new relationship between teapots and humans; thus, the teapot has walking feet and emotional motion making them temporal episodes rather than static objects.\" (Ming-Shun Cho)<\/td>\r\n<\/tr>\r\n
\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
<\/td>\r\n<\/tr>\r\n
\r\n

International Biennale of Artistic Ceramics of Aveiro (16th Edition)<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

\r\n[caption id=\"attachment_68318\" align=\"alignnone\" width=\"2250\"]\"\" \"Big Smile\", 42 x 40 x 21cm, stoneware and porcelain, oxide and pigments, by Ellen van der Woude.[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Ellen van der Woude - 1st Place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\"Nature is of fundamental importance. My sculptures are a reflection of my close observation and connection to the natural world, its resilience and fragility, while also acknowledging lost links between humanity and nature.\u00a0\u00a0I pay tribute to the natural world and hope to remind people to slow down, reconnect with nature and contribute to its conservation.\u00a0<\/p>\r\n<\/td>\r\n

\r\n

Working intuitively, I combine different clay bodies and porcelain to create imaginative sculptures reminiscent of sub-marine sea life or blooming flora. Rather than relying on glazes, I manipulate textures, stain oxides and colour clay to add visual and tactile interest. All my work is hand built, therefore all pieces are unique.<\/p>\r\n

The Big Smile series were created after a long dark winter. Longing for light and sun I wanted to create something full of happiness and energy, something to make you smile and to remind you of all the good things life has to offer.\" (Ellen van der Woude)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

\u00a0<\/td>\r\n\u00a0<\/td>\r\n<\/tr>\r\n
\r\n[caption id=\"attachment_68329\" align=\"alignnone\" width=\"1700\"]\"\" \"ETA 24.06\" by Marie-Jos\u00e9e Comello. \u00a9 Eric Smeets - Fotografie[\/caption]\r\n<\/td>\r\n<\/tr>\r\n
\r\n

Marie-Jos\u00e9e Comello - 2nd Place<\/h3>\r\n

Member's page<\/a><\/span><\/p>\r\n

\" 'ETA' is an abbreviation used in the aviation and stands for 'Estimated Time of Arrival'.<\/p>\r\n

ETA 24.06 thus refers to a fictional time of arrival.<\/p>\r\n

For this work I was interested in the 'Meantime', the moment between waking and sleeping, the twilight zone between daytime and night time.<\/p>\r\n

It refers to the inability of holding time, which is elusive when you want to grab it.<\/p>\r\n<\/td>\r\n

\r\n

Research about our past and future provides us knowledge to enable ourselves to understand our place in time and space.<\/p>\r\n

My search deals with the disturbance of this knowledge, starting from the fascination for fragments; I am curious about the absent parts, the still not finished stories and no less the void that a fragment carries along with it.<\/p>\r\n

It is about the boundary between the known and the unknown, the twilight zone.<\/p>\r\n

There is silence on the dividing line of meanings.\" (Marie-Jos\u00e9e Comello)<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

 <\/p>","_en_post_name":"prix-et-recompenses","_en_post_excerpt":"This page is dedicated to prizes and awards that are won by our members in the context of prestigious international competitions.","_en_post_title":"Prizes and Awards","_ja_post_content":"","_ja_post_name":"","_ja_post_excerpt":"","_ja_post_title":"","_zh_post_content":"","_zh_post_name":"","_zh_post_excerpt":"","_zh_post_title":"","_es_post_content":"","_es_post_name":"","_es_post_excerpt":"","_es_post_title":"","edit_language":"ja"},"class_list":["post-28805","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/pages\/28805","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/users\/1291"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/comments?post=28805"}],"version-history":[{"count":418,"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/pages\/28805\/revisions"}],"predecessor-version":[{"id":94003,"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/pages\/28805\/revisions\/94003"}],"up":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/pages\/8"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/media\/89870"}],"wp:attachment":[{"href":"https:\/\/www.aic-iac.org\/ja\/wp-json\/wp\/v2\/media?parent=28805"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}