{"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":"2025-12-30T08:54:09","modified_gmt":"2025-12-30T08:54:09","slug":"","status":"publish","type":"page","link":"https:\/\/www.aic-iac.org\/zh\/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
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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 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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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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Prix et R\u00e9compenses 2023<\/h3>\r\n<\/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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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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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

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\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

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

\"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
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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 2024<\/h3>\r\n<\/td>\r\n<\/tr>\r\n

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

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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
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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
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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
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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
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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

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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

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

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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

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

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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
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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 - 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
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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
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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

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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

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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 - 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

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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":"zh"},"class_list":["post-28805","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages\/28805","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/users\/1291"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/comments?post=28805"}],"version-history":[{"count":236,"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages\/28805\/revisions"}],"predecessor-version":[{"id":89876,"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages\/28805\/revisions\/89876"}],"up":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/pages\/8"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/media\/89870"}],"wp:attachment":[{"href":"https:\/\/www.aic-iac.org\/zh\/wp-json\/wp\/v2\/media?parent=28805"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}