CLICK photo = LARGE format + slide show.. MORE IMAGES WILL FOLLOW..

SLEIGHT OF HAND Trick of the eye
Peder Rasmussen, Michael Geertsen DK, Kurt Weiser, Richard Shaw USA,
Stephen Bowers, Sophia Nuske, Australia
Exhibition 27 October - 26 November 2016
Opening reception on Thursday 27 October, 16-19.00

Artful trickery by Sleight of hands and mind.
Contemporary artists explore aspects of Visual Illusion, Visions of the Mind..
- a unique international meeting with great iconic artists acknowledged for their amazing illustrative ceramics pieces of art.

The exhibition emphasizes on deceiving - and delighting the eye.
Exhibition pieces by Kurt Weiser, Richard Shaw USA, Stephen Bowers and a young Australian talent Sophia Nuske, - and collaborative pieces by two Danish artists, Peder Rasmussen and Michael Geertsen DK.

While remaining faithful to the ceramic medium and its manipulation, the artists play with ideas of deception and illusion. Things are not quite as they may seem. Expectations are subverted and humorously played with.

The artists exhibit personal artifices and visual fantasies; but equally referring to illusionist trickery made in ceramic materials, the exhibition as much reflects our time seen through the artists' eyes, personal references and images of the world created by our global, cultural and art historical context.

PEDER RASMUSSEN and MICHAEL GEERTSEN have invented an alter ego named Gert Pedersen, who takes us out on an adventurous journey where anything can happen.. - and happens. Animals and humans emerge from known and unknown tales. They live in a world of vessels and geometric shapes, where it is quite easy and almost temptingly safe to go in and explore new land marks.

RICHARD SHAW shows a cigar box filled with shells and other memories, - another work is an envelope of a letter to his daughter. He makes personal collections of memories that could be collected by ourselves - or someone we know - silly memories that across ages we can relate to, but relate to differently depending on whether we have ever written a letter - or this has become part of cultural history.. - and challenges our contemporary concepts.

KURT WEISER presents a large piece, a pictorial vessel, a naturalistic immediate narrative universe, that in a way is recognizable; - but without telling the whole story, it draws the viewer in and around the piece to find the answers or understand the whole story.
His work contains mysteries and do not serve 'all on a plate', but makes you want to see the piece from all sides. It is masterfully executed porcelain painting and advanced visual narrative.

STEPHEN BOWERS moves in to a historical pictorial world, where he has painted highly detailed pottery shards from different periods and styles onto an 'aerial' of Australian nature.
He references a variegated culture, personal ideology, and local characters, but also gives an image of the global community we all live in, experiences, fragments and motifs from around the globe, along with phone apps and other contemporary iconic characteristics.

SOPHIA NUSKE, a new Australian talent invites the viewer to focus attention on the ordinary, neglected man-made things. By playing on the inherent language about these objects, she creates humorous juxtapositions of ideas, guided by wordplay. She references trompe l'oeil super objects from the 70s and 80s in a new 'design' and cartoon-like imagery that is the hallmark of the younger generation of ceramists.

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design Project Funding of the Ann Linnemann Gallery's international exhibitions and promotion in 2016.

The French term, Leger-de-main is another name for sleight of hand.
Legerdemain (Leger-de-Main):
= Sleight of Hand - trickery; deception - any artful trick.
= skill in or practice of feats of dexterity that create a magical illusion.
= an illusory feat; considered magical by naive observers.
= sleight of hand, prestidigitation the kind of legerdemain you'd expect from a magician.
= deception, manoeuvring, manipulation, cunning, artifice, trickery, subterfuge, feint, contrivance, chicanery, hocus-pocus, CRAFTINESS, ARTFULNESS, footwork (informal) financial and legal legerdemain..

For the second time Michael Geertsen and Peder Rasmussen have created ceramic works together.
This time the symbiosis is completed - they have simply signed the pieces: Gert Pedersen.
The pieces are a burlesque mix of properties we already know from the two ceramists separately - in the intermingling they simply become more narrative and adventurous. You can tell, - they have amused themselves.
(Photo of collaborative piece - Copenhagen Ceramics, 2012)


Peder Rasmussen is a potter, artist and one of Denmark's few major cultural authorities who takes the ceramic profession seriously. He gets involved in everything from writing critical posts to as an author publishing books with ceramic theme: Kählers Værk i 2002 and Reistrup, Nyt Nordisk Forlag Arnold Busck, 2006, and in 2016 Familie På Træben - About J.F. Willumsen's Family Vase.
For potters and other folks, he is a commentator and sometimes a provocateur - but first and foremost one who knows his craft and plays from all humorous angles with a sharp tongue, a clear eye and mind to rediscover historical themes, as he rethinks and involves in his own pieces.
- “Although the shape is important, it is the picture side that matters most to me. The diversity of intrusive figuration has always been my excuse to make another image vase. The human figure is usually the core of the decorations, often in combination with ornamental elements or involved in various activities. Human interactions and our relationship with nature are a couple of my recurring themes, but generally the subject matter is rather wide.
The circular or oval vessel form, I consider to be absolutely perfect as a narrative medium. I see my image vases as cinematic stories - almost as a kind of visual film loops. In my plates, I use the opportunity to arrange pictures with a more solid and central focus.
I also work a lot with freestanding figures that often share a motivic starting point with vases and plates.
In regards to the technical terms, I've been through a lot, as evidenced in my "Museum"(*). First it was the pottery - so stoneware, since Raku.
From the early nineties, I worked mainly with shiny glazed earthenware in relatively classical forms. Recently, I been experimenting with Majolica, the classic Italian technique I met during my study in Italy in the early seventies."
*See Museum:

PEDER RASMUSSEN was born in 1948. Lives and works in Haslev, DK.
EDUCATION potters certificate at Herman A. Kähler, Næstved 1966–70. Istitutto Statale per la Porcellana, Sesto Fiorentino and Accademia di Belle Arti, Florence, Italy, 1970–71.
DANISH ARTS FOUNDATION Lifelong Artist Award, 1998.
REPRESENTED BY Victoria & Albert Museum, London. National Museum Stockholm & Röhss Museum of Decorative Art, Gothenburg, Sverige. Designmuseum Danmark. Kunstmuseum Trapholt & CLAY Ceramics Museum, Denmark. National Museum & Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway. Keramion, Frechen, Museum für Kunst und Gewerbe, Hamburg & Hetjens Museum, Düsseldorf, Germany. COLLECTIONS National Arts Foundation in Sweden & Denmark, Annie and Otto Detlefs Foundation, Denmark.
SELECTED EXHIBITIONS Museum of Arts and Crafts, Oslo, Norway, 1989. Galerie Clara Scremini, Paris, France, 1997. Galerie Droysen, Berlin, Germany, 2000. Galerie Nørby, Copenhagen, 2003. Holstebro Art Museum, Denmark. Keramion, Frechen, Germany, 2006. Koldinghus Museum, Denmark, 2009.

FILM - part 1:
FILM - part 2:

Michael Geertsen is one of the few who is trained both as potter and industrial designer.
After 25 years of professional career, he is internationally recognized for his fancy-full, often colourful pieces that reflect a playful cultural approach to the material in line with the great interest within contemporary ceramics.
The driving force has largely been opportunistic from the idea that everything before the modern breakthrough was "bourgeois merchant ceramics". However, he acknowledges that clay's own, built-in logic and the fundamental studies of material have been the same across time and culture. It is this collective relationship between all time potters, such as the exhibition Geertsen VERSUS at Næstved Museum, has focused on. This exhibition was a potter's dialogue with his historical legacy and showed a kinship that is not only parallel by virtue of shape, glaze and technology, but a quite common mind-set that has its roots way back in antiquity.
“It makes sense for me to create pieces that are in dialogue with the history of a present days optic.
My artworks include both the physical and written statements, as the historical elements, after all, are to be decoded. But they are nevertheless 'on their own feet' in their own idiom. And surely it is in all modesty, my humblest ambition: to become one of those who gets speaking time in history through my work.
All the individual parts of my unique pieces are turned by hand. Then I unite the various elements into a finished expression via hands and my eye for proportion.
Usually I have a fairly complete idea in my head, but a jazzy improvisation is as much a part of my working method
My trademark has been a sculptural accumulation of ceramic elements: cup, plate, pot, saucer, teapot - everyday recognizable ceramics sampled in a deconstructive grip that transcends everyday life and points both back into history and forward to new tales "
(Quotes from Geertsens website - interview/C. Jul and various exhibitions)

MICHAEL GEERTSEN was born in 1966, trained as a potter in Stensved, Denmark, certificate in 1988 and graduated from the department of Industrial Design at The Royal Danish Academy of Fine Arts, School of Design in 1993. He lives and works in Copenhagen.
His works are represented at the Metropolitan Museum, Cooper Hewitt National Design Museum and MAD/Museum of Arts and Design, all in New York City, The Victoria and Albert Museum in London and Designmuseum Danmark in Copenhagen. In 2012 he created a permanent installation at The V&A in London and in 2009 he did a mosaic mural in Hanoi.
Michael Geertsen is represented by Jason Jacques Gallery in New York, Galerie NeC nilsson et chiglien in Paris and Superobject gallery in Copenhagen.
FREELANCE INDUSTRIEL DESIGN - Muuto, Cor Unum, Kähler, House of Prince, Paustian.

Kurt Weiser is Internationally recognized as a contemporary ceramic artist and educator. He is acknowledged for his technical virtuosity with porcelain forms and his use of china painting techniques in a distinct contemporary style.
His subject matter illustrates lush, mysterious landscapes and distorted narratives set amidst colour-saturated flora and fauna that read as voyeuristic candid snapshots of the human condition.
The illustrations challenge and surprise the viewer all the way around the forms with a continuous dreamlike narrative.
“For years the work I did in ceramics was an effort to somehow express the beautiful nature of the material. Somewhere in the midst of this struggle I realized that the materials are there to allow you to say what you need to say, not to tell you what to say. So I gave up trying to control nature and decided to use what I had learned about the materials to express some ideas about nature itself and my place in it.”
EXHIBITION PIECES present a new large porcelain vase complimented by a series of blue and white cups, together with a salt-fired earthenware and a tall black&white cylindrical vase.
KURT WEISER was born in Michigan 1950, lives and works in Arizona and Montana, USA.
Studio: Tempe, AZ. Education: Interlochen Arts Academy, Interlochen, MI, 1967-69; Kansas City Art Institute, Kansas City, MO, BFA, 1972; University of Michigan, Ann Arbor, MI, MFA, 1976. Since 1988 he has taught ceramics at Arizona State University where he is now a Regents Professor. Awards: Aileen Osborn Webb National Artist Award, 2003; American Craft Council College of Fellows, 2003; Arizona Commission on the Arts, Artist Fellowship, 1999; National Endowment for the Arts, Artist Fellowship, 1992, 1989. USA Artists Fellowship 2012. .Collections: Victoria and Albert Museum; the Los Angeles County Museum of Art; Carnegie Museum of Art; Museum of Contemporary Ceramics, Shigaraki, Japan; Mint Museum of Craft and Design; Racine Art Museum and the National Museum of History in Taipei.


In the world of contemporary ceramics, Richard Shaw is a great master of trompe-l’oeil sculpture. He has developed an astonishing array of techniques, including perfectly cast porcelain objects and overglaze transfer decals. By combining the commonplace with the whimsical, the humorous with the mundane, Shaw captures the poetic and the surreal with the sensibility of a comedian. Shaw is one of the most respected and collected artists in contemporary ceramics.
Richard Shaw came out of the San Francisco Bay Area art scene in the late 1960's and he continues to add to his skills and appropriate from mass culture.
He has developed a vocabulary of found objects that form intimate still life sculptures, complex figures, and personally referential assemblages.
He brings life to the detritus of the studio, as a cartoonist animates the page.
“I have been working in this mode of realism since 1976. My earlier work dealt with illusion, so I believe it was a logical transition to my present work which has been traditionally referred to as Tromp l'Oiel.
All the work is constructed in glazed porcelain. Since the mid 60's I have been working in ceramics, the medium that has become my main source of expression.
Many of the pieces illustrated are containers or refer to containers. This gives me a format to work from and is also a tradition in functional ceramics, European and worldwide.
I use the still life to suggest an arrangement by an absent person, male or female, of common objects they use in daily life, which they have left for a moment, is frozen in time. The figures are also about containers, still-lifes and objects that have been anthropomorphized into people frozen in action or repose.
I hope that these pieces come across as quiet reminders of a person's presence whether they are artists, librarians or some crackpot constructing a figure out of junk. I also hope that they have the ability of function, humor, surprise, beauty and universality.”
EXHIBITION PIECES Collection Box with Sea Shells, Windy Lady, Origami Ship on Cake, Letter for Alice, Bray Show.

RICHARD SHAW was born in 1941, Hollywood, USA. He lives and works in Californien, USA.
EDUCATION San Francisco Art Institute, BFA,1965; MFA, University of California, Davis, 1968. Teaching at San Francisco Art Institute 1966-86. Now Professor of Art, University of California at Berkeley.
AWARDS National Endowments Grants. Fellow, American Crafs Council 1998; Honorary Member NCECA (the National Council of Education in Ceramic Arts) 2010 ; Watershed Center for Ceramic Arts Legends Award 2011; Master of Medium Award, James Renwick Alliance, Washington DC.
RESIDENT ARTIST Shigaraki Cultural Ceramic Park, Japan; Manufacture National de Sevre, Paris; Watershed Center for Ceramic Arts, Maine; Peter Voulkos Fellowship, Archie Bray Foundation, Helena, Montana.
PUBLIC COLLECTIONS Whitney Museum of American Art; San Fran Museum of Art; Taipai Museum of Modern Art; National Museum of Modern Art, Kyoto; Shigaraki Cultural Ceramic Park, Japan; Stedelijk Museum, Amsterdam, Nederlands; Victoria Albert Museum, Cantor Museum, Stanford England..

Video -

Stephen Bowers brings together in his painted ceramic vessels many of the traditions from the history of ceramics.
In any one piece, one might find traces of many familiar styles and decorations.
While maintaining a respect for the master techniques, Stephen Bowers' flamboyant and exuberant ceramics combine a classical ceramic heritage with inspiration from indigenous sources and are spiced with dashes of wit. His work is distinguished by intricately painted underglazes which "wear its expertise lightly.
His ceramic pieces may reflect ideas about recollection and persistence in the form of remnants and shards; and be about how sections of memory survive utilising borders, patterns, overlaps, edges and shadows.
His drawing skills, and the way these are carried out through ceramic materials, are considerable, but the drawings are more than decoration and illustration. They are witty collages that betray thoughtful research and intelligent observation.
He regularly retrieves and re-positions images, representing ‘the familiar’, often sourcing ‘clichéd’ images (blue and white, willow pattern, wallpapers, natural history illustrations, etc.) within a personal contemporary context, often with a surreal, whimsical, humorous, sceptical or satirical subtext.
Reflecting the influence of textiles, wallpapers, comic strips, natural history illustration and childhood memories his work brims with ideas and imagery that trace their origin to both historical and contemporary sources.
It is a sustained investigation into hand painted imagery and how it might be applied to the ceramic surface. Appreciation of this approach is a key to understanding how he develops and composes his imagery and achieves the complexity of resolution in his work.
His work is almost always functional in its form, and ranges from pieces that are mainly domestic in their purpose, to monumental urns and jardinieres intended for large public places.
- “My aim is to make people look - and to look again; encouraging viewers to observe, react, consider, discover and re-consider. I make both production and exhibition work, using hand craft skills informed (but not driven) by ideas with origins in the theory and study of images, their historical recall and reproduction and perception, and giving reference to the contexts and crossovers of visual arts with traditions, trade, travel, politics, science and exploration.
Compositionally, juxtaposition is important and I work in a kind of ‘mash up’ way; perhaps tongue-in-cheek, but always selectively, deliberatively and with an element of homage in mind. My work presents fictive tableaux, sectional or shard-like conjunctions, forming mosaic-like narratives of observation, conjecture and inquiry, often with a surreal, whimsical, humorous, sceptical or satirical subtext.”
EXHIBITION PIECES “Fake real shards, and real fake shards…“ - Ironstone, Buddhist, French Toile, Parrot, Ming-Morris-PhoneApp, Jewel at the Border.
Together with Monkey & Kangaroo plates, cups and bowls.
Wheel thrown earthenware, underglaze colour, clear glaze, gold lustre, 2016.

Ann Linnemann Galleri, 2010: 2010/10/illustrious-wonderes-udstilling
Ferrin Gallery:
Robin Gibson Gallery:

SOPHIA NUSKE - Australien
“I invite the viewer to refocus their attention on common, overlooked manmade objects. By playing with the inherent language of these things, humorous juxtapositions of ideas are created, guided by wordplay. A level of realism is achieved through carefully fine-tuning a tool kit of visual cues, referencing trompe l’oeil super objects of the 70’s and 80’s. The humour found both in lingual and visual puns, as well as the graphic or cartoon-like appearance of the work reinforces the playful quality underpinning my practice. Through my installations, I question: How do these common objects affect our daily rituals? What sentimental value do we imbue in them? And what happens when their function is subverted? Ultimately the viewer is invited to renegotiate their surroundings and how they engage with objects of the everyday.”

EXHIBITION PIECES "To Cut a Short Story Long" & "Bandaids"


CLICK photo = LARGE format + slide show.. Exhibition photos.

Nina Malterud & Gunhild Rudjord

Exhibition 22 September – 22 October 2016
Nordic ceramic pieces in harmony and interaction
Two Nordic artists exhibit new ceramic pieces that reflect colours and nature in Scandinavian tones.
Interaction and opposition of the artists' pieces, Nordic expression with personal uniqueness in decoration and colour delight, in pictorial, abstract patterns and colour combinations - from stylish colour choices to powerful pictorial compositions with a clear nature reference.
Both work from the plate as a basic shape for the surface, layer upon layer of textural glazes, but their artistic expressions move in different directions.

GUNHILD RUDJORD is masterful in her ability to exploit the transformation taking place during the firing. There are great power in her pieces that seem simple, but offer dramatic compositions, contrasts - and a particular softness of the glaze, which runs over the surface.

NINA MALTERUD achieves that her objects become alive through several layers of glaze firing, where she is looking for signs of the process, such as crackle, pinholes and other ceramic 'faults'. Artistic expression ranks higher than the useful - however, these objects are linked to a rich tradition of function.

NINA MALTERUD ”For some years I have explored plane forms with a small vibrant edge, making the object into a kind of vessel or plate.
The object becomes alive and achieves its artistic value through many layers of glazing and firing.

I include and build on signs of the process, such as crackles, pinholes and other ceramic 'faults'. The artistic expression rank higher than the useful - however, these objects are still linked to the rich tradition of function.
I rarely give up on a piece, but give another chance in the kiln.
I am meticulous in the final selection.
More than in earlier works I make use of the new potentials in the ceramic media and processes, especially the glaze. Material depth of colours and structures obtained through the processes.
The meeting between strict form and unexpected effects.
The objects are made of earthenware, with a roller pin and manipulation of the edges. Glaze fired at about 1060 Celsius.
My first major inspiration was the Danish-Norwegian ceramist Lisbet Dæhlin (1924-2012), but now also pre-industrial art objects and crafts from the last century until now."
NINA MALTERUD was born in Oslo, 1951. EDUCATION at the Norwegian National Academy of Craft and Art Industry (SHKS) in Oslo from 1971 to 1974. Has worked as an artist in ceramics since 1975, in Oslo and later in Bergen. Professor of ceramics at the Bergen National Academy of Arts from 1994. Rector of the Academy from 2002 to 2010. Member of the Board for Artistic Research Programme 2003-14. Various assignments as a senior adviser to the Bergen National Academy of Arts and Art in Oslo (KHIO) since 2012.

SELECTED - Solo exhibition Artist's Association (Kunstnerforbundet), Oslo 2012, after 9-year break from the studio work. Norwegian Association for Arts and Crafts, Honorary Award 2005. Solo exhibition RAM Gallery, Oslo 2003. The initiator of the journal 'Kunsthåndverk', a member of the Editorial Board 1979. Working for ceramist Lisbet Dæhlin at Frysja Art Centre in 1975, set up own workshop, later with Beth Wyller. Summer workshop with fellow students in North Norway - Completion of training in ceramics at the National College of Art and Design, Oslo 1974.

GUNHILD RUDJORD is masterful in her ability to exploit the particular transformation that takes place during ceramic firing process.

She works primarily with the well-known ceramic archetypes - the vessel or plate as 'canvas' and creates beautifully decorated pieces where the ornamental motifs - often inspired by nature - are manifested in an exuberant interaction with glaze effects, colour depth, gloss and obvious signs of melting process.
She acknowledges an early inspiration from the renowned Danish designer, Bindesbøll (1846-1908), but has developed a very personal artistic language.

”I let the landscapes and spaces appear from the layers of slips and glazes in the firing. In my new pieces, the ornament has dissolved, there is less use of slips, giving the glazes more freedom. Several glazes are in action.
The immediate expression, material and colour delight are atmospheric and associative.
The plates are red earthenware, decorated with slip and glazed with various glazes at 1040 C.
My inspiration may be a voyage sailing along the north coast of Norway some time in September when the sea and sky, clouds and lights somehow leave an imprint on the eye.”
GUNHILD RUDJORD was born in Trondheim, 1961, educated at the Danish Design School - Kolding, 1983-87.
She lives in Faaborg and works at The Tommerup Ceramic Workshop as the glaze master since 1987, including cooperation with Bjørn Nørgaard.. SELECTED EXHIBITIONS Gallery Pagter, Kolding, 2016; Copenhagen Ceramics, 2014; Gallery Modern, Silkeborg 2013; Himmerland Art Museum 2011 and Art Center Brænderigården, Viborg, 2006; Danish Ceramics Triennial, 1994. COMMISSION PROJECTS large vase for the Danish Crown Prince Couple in 2004, 2m tall vase for Faaborg and 100 dishes for The New Carlsberg Foundation. SCHOLARSHIPS AND SALES to The Danish Arts Foundation and The New Carlsberg Foundation. Member of the Board of The ceramics museum Clay.

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design Project Funding of The Ann Linnemann Gallery's international exhibitions and promotion in 2016.

Born 1961 in Norway.
Lives and works in Faaborg/Tommerup, Denmark
EDUCATION Kolding Design School, 1983–87.
REPRESENTED The Danish Arts Foundation; The New Carlsberg Foundation; Museum of International Ceramic Art, Funen, DK; Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway; Sønderjyllands Kunstmuseum, Tønder, DK; Fu Le, International Ceramic Art Museum, Fuping, Xian, China.

SELECTED EXHIBITIONS Galleri Moderne, Silkeborg 2013 ; Galleri Weber with Sys Hindsbo, Svendborg 2012; Galleri Pagter, solo, Kolding, 2011; Himmerlands Museum of Art with Kirsten Klein(photography), Aars, 2011; Clausens Kunsthandel with Knud Odde, Albert Mertz, Copenhagen 2009; Kunsthallen Brænderigården, (solo) Viborg 2006; Galleri Nørby, Copenhagen, with Edmund De Waal, 2004.

SELECTED COMMISIONS 2 m vase for Faaborg, 2012; 100 plates for New Carlsberg Foundation (100 year) Copenhagen 2006; 3 m vase for the Danish Crown Prince Couple, Fredensborg 2004.

PUBLICATIONS Contemporary Ceramics by Emmanuel Cooper, Thames and Hudson – The Potbook by Edmund De Waal, Amazon.

PROFESSIONAL EXPERIENCE (selected) Glazemaker at Tommerup Keramiske Værksted since 1987.
Member of the board at Museum of International Ceramic Art (Grimmerhus), Funen, DK.


Born in Oslo 1951. Lives and works in Norway.

1971–74 Ceramics at National College of Art and Design (SHKS), Oslo

1975– Frysja Art Centre Oslo, and in Bergen

2012- Senior adviser part time on education structure issues
2002-10 Rector
1998-02 Pro Rector
1994-02 Professor in Ceramics

2012-14 Senior adviser 20 %, artistic research and accreditation issues

2011-14 Co-responsible for annual Supervisors’ Seminar
2003-14 Member of the Steering Committee

2014-15 Adviser for the project INTERIMP at the Norwegian Academy of Music
2004-09 Responsible for Sensuous Knowledge, annual conferences and publication series, supported by the Research Council of Norway
2002 something old, something new, something borrowed, something blue, publication,
2002 Project leader from KHiB in Burning Point Bergen, Ceramics
1950-2000 publication, film, exhibition and seminar by Bergen National Academy of the Arts
/The West Norway Museum of Decorative Art

2015, 2012, 2003, 2000, 90, 89, 84 Museums of Decorative Art in Oslo, Bergen and Trondheim
2003 The Art Museum of Northern Norway
2003 Drammens Museum
2000,89,88,84,83,80,78 Arts Council Norway
1991 Østfold County
1990 Sogn and Fjordane County Gallery
1984,83,80 Riksgalleriet

2005 Norwegian Association for Arts and Crafts: Honorary Award
1989 Norwegian Association for Arts and Crafts: Grant
1992,85 Government’s Travel Grant
1985 Houen’s Foundation Grant
1979-81 Government’s Work Grant
1978 Government’s Materials Grant

2015 KRAFT Bergen
2014 Hå gamle prestegård (South West of Norway)
2013 Gallery Format, Bergen
2013 Rom8, Bergen
2012 Kunstnerforbundet, Oslo
2005 Rackstadmuseet, Sweden
2003 RAM Gallery, Oslo
1989,84,80 Kunstnerforbundet, Oslo
1989 National Museum of Decorative Arts, Trondheim
1989, 84 F15 Gallery

2015 SOFA Chicago (Gallery Format)
2013 Collect, London
2009 Vevring Exhibition
2003 Burning Point Bergen, The West Norway Museum of Decorative Arts, Bergen
2002 Keramik aus Norwegen, Galerie Handwerk, München
2000 Flyvende tallerkner og andre fat, Bomuldsfabriken, Arendal
1999 Kunstnerforbundet, Oslo
1999 Norwegian Contemporary Ceramics, Amsterdam
1998 Tendencies, F15 Gallery
1996 Ceramic Art Exhibition, Perugia
1994 Artists’ House, Gvarv Telemark
1994 Olympia Collection, Lillehammer
1990 Norwegian Ceramics 1940–1990, Museum of Decorative Arts and Design, Oslo
1990 Ukraina – Norge, a Developing Tradition, Norsk Folkemuseum
1990 Hordaland Art Centre
1990 6 sider av samme sak, RAM Gallery, Oslo
1984 Norway Now, travelling exhibition England
1983 Frysja på by’n, Museum of Decorative Arts and Design, Oslo

2016 Pottery is back Kunstnerforbundet, Oslo
2014 Annual exhibition Craft 2014, Norwegian Association for Arts and Crafts
2003 Ceramic Triennale, The Vigeland Museum, Oslo
2000,1975-93 Annual exhibition Craft, Norwegian Association for Arts and Crafts
1991 Krysspunkt, Henie Onstad Art Centre

Public Art Norway (now KORO)
1994 Asker and Bærum District Court
1993 Kongsberg Engineering University College
1990 Bergen Prison
1985 Sessvollmoen Military Camp
1985 Norwegian Embassy Riyadh
1992 Tingvang, Øystre Slidre Municipality
1991 Renaissance 7 (cruise boat)
1989 Den Norske Creditbank

1979-87 Initiative to establish the journal, member of Editorial Board, co-author of many texts

BIOGRAPHY (details)

Born 1961 Trondheim, Norway. Lives in Denmark since 1981.

EDUCATION Design School - Kolding, 1983–87
Glaze responsible at Tommerup Ceramic Workshops since 1987
Board of directors, CLAY Museum of International Ceramic Art, Funen, DK.

2016 Gallery Pagter, Kolding, DK
Ann Linnemann Gallery, Copenhagen, DK
2015 Galerie Espen Art Denor, Cannes
2014 Copenhagen Ceramics, DK
2013 Gallery Moderne, Silkeborg, DK
2012 Gallery Weber, w Sys Hindsbo, Svendborg, DK
September Exhibition, Fanø Art Museum, DK
2011 Gallery Pagter, solo exhibition, Kolding, DK
Himmerland Art Museum, med Kirsten Klein, Aars, DK
2009 Clausens Kunsthandel, w Knud Odde & Albert Mertz, Copenhagen, DK
2008 Gallery NB, Summer Exhibition, Viborg, DK
2007 Gallery Wolfsen, Contemporary Ceramics Aalborg, DK
2006 Art Centre Brænderigården, solo exhibition, Viborg, DK
2005 Fu Le International Ceramic Art Museum, Fuping, Xian, China
2004 Gallery Nørby, solo exhibition, Copenhagen, DK
2003 Nordenfjeldske Art Museum, solo exhibition, Trondheim, N
Sønderjyllands Art Museum, solo exhibition, Tønder, DK
Gallery Carsten Frøkjær, solo exhibition, Copenhagen, DK
2002 Omkring Nyholm, Silkeborg Art Museum, DK
Gallery Franz Pedersen, Horsens, DK
Denmark's Ceramics Museum - CLAY, From Clay to Ceramics, DK
2001 Gallery Pagter, Kolding, solo exhibition, DK
Gallery Carsten Frøkjær, solo exhibition, Copenhagen, DK
2000 Standpunkte, Denmark's Ceramics Museum - CLAY, DK
1999 Gallery Carsten Frøkjær, solo exhibition, Hellerup, DK
Standpunkte, Keramion, Frechen
1998 Erik Nyholm/ Gunhild Rudjord, Gimsinghoved, Struer, DK
Ceramic Art from Tommerup 1987-98, Ceramics Museum - CLAY, Funen, DK
1997 Fade, Galleri Pagter, Kolding, DK
Dansk Keramik 1850-1997, Sophienholm Art Museum, Lyngby, DK
Gallery Nørby, solo exhibition, Copenhagen, DK
1996 A Keramisk Univers, 23 Nordic Ceramists, Kulturspinderiet, Silkeborg, DK
1995 International Contemporary Artists in Clay, Gallery Vroumans, Amsterdam
Keramisk Dialog, Keramikaze, SAK Svendborg, DK
1994 The Danish Triennial, Trapholt Art Museum, Kolding, DK