Press release Keramiekcentrum Tiendschuur Tegelen

Pottery from the Westerwald (D)

19 January to 11 May 2025

Like the Dutch province of Limburg, the Westerwald region of Germany has been an important ceramic production centre for centuries. Located to the north of Koblenz, it is actually the origin of the famous ‘Cologne pots’ that can still be found in many Dutch homes. The ceramic tradition is maintained in the Westerwald to this day, as testified by the many young and talented makers who have chosen to set up their studios there. The exhibition at Keramiekcentrum de Tiendschuur focuses on the history of Westerwald ceramics and the huge volume of German stoneware that has been produced for the Dutch market. It includes the work of celebrated makers like Elfriede Balzar-Kopp, Heiner Balzar (who trained at Tegelen, among other places) and Wim Mühlendyck. Visitors can also enjoy ceramics created by an entirely new generation of potters, some of whom only recently finished their training. It is a fine tradition at Keramiekcentrum de Tiendschuur to pay attention to places around the world where – as in Tegelen itself – pottery is a traditional industry. The exhibition is showing from 19 January to 11 May 2025.

The Westerwald region of Germany is home to Europe’s largest deposits of clay – as many as fifteen different varieties of it. Clay that lends itself perfectly to the creation of stoneware, a fact discovered at an early date: stoneware has been produced in the Westerwald for centuries, earning it the nickname Kannenbäckerland, literally ‘Pot Bakers’ Land’. The region’s position along major trade routes and the transport possibilities offered by the river Rhine helped make Westerwald stoneware a successful export product, for which the Netherlands was an important market. Practical ware such as jugs, pitchers and butter and jam pots in the typical blue-grey colours were popular for many years. Butter served from a stoneware pot might now be a thing of the past, but there has been no let-up in technological development, including the production of Westerwald ceramics. The subject is taught at two major training institutions in Höhr-Grenzhausen: the Institut für Künstlerische Keramik und Glas and the Fachschule Keramik. There is also a Westerwald ceramic museum, where visitors can see historical and contemporary pottery. It is from this collection that historical pieces have been drawn for the exhibition at Keramiekcentrum de Tiendschuur along with work by Elfriede Balzar-Kopp, Heiner Balzar and Wim Mühlendyck. The following contemporary ceramists from Westerwald are also featured:

The sculptures and wall pieces of Monika Debus (Germany) test the boundaries of ceramics and explore the connections that exist between clay and painting, tradition and modernity. She uses Westerwald’s ancient salt-firing method to achieve a new, modern look.

Martin Goerg (Germany) constructs large objects by hand by constantly adding clay. Control of lines and hence shape is an essential part of his work. The slow build-up means that the piece does not have to be concentric, but can lean outwards or backwards with lateral openings. The interaction of this carefully thought-out method with the chance element introduced by the kiln gives Goerg’s work its individual character.

The sculptural ceramic forms created by Thomas Naethe (Germany) consist of convex and concave elements. Altering these individual elements constantly creates new variations. His work stands out for its precision and harmony.

Rita Ternes (Germany) makes sculptures, the form of which separates their inner space from that around them while simultaneously enabling them to occupy a place of their own. She uses colour to clarify what is inside and what is outside.

The work of Arthur Mueller (Germany) consists of small, freely wheel-turned series as well as one-off pieces. He is fascinated by wood-firing: the traces left by the ash and flames instil a ‘calculable’ uncertainty in the end result – a gift, as it were, of the kiln.

The work of Julia Saffer (Germany) is consistently based on the spiral, a form symbolizing movement, harmony and infinity. She uses the terra sigillata technique in a contemporary way that gives her objects a modern character.

Paul Simon Heyduck (Germany) makes objects and installations as well as household ware. What all his work has in common is the joy of experimentation. Key themes include communication, the human psyche and power structures. Heyduck seeks a balance in his practice between method, material and idea.

The sculptural objects made by Nora Arrieta (Germany) give visual form to the impressions and feelings prompted by the torrent of images and information we consume every day. Their playful and dreamy elements bring together familiar scenes, gestures and everyday objects in new and unconventional ways.

The work of Carolin Piechotta (Germany) takes the impressions and objects she collects during her travels and embodies them in the form and structure of her ceramic objects. She creates keepsakes, as it were, that are both physically tangible and subjective memories that cannot otherwise be seen.

The ‘Oddly Useful Objects’ that Theresa Pazek (Germany) collects explore the aesthetics of order as a tactile and visually observable experience, shaped by abstract yet functional porcelain objects. Order becomes a tool for interacting with the things around us and helps us to focus.

Petra Herbe-Diekmann (Germany) makes crockery, both wheel-turned and hand-shaped stoneware in harmonious colours inspired by organic forms from nature.

The ceramic sculpture of Alix Brodeur (United States/Germany) arises from her fascination with everyday objects and forms with no aesthetic intent. It is a reinterpretation (and honouring) of their presence. Shapes that seem simplified and that celebrate the principles of architecture, glazed in saturated colours.

Philsoo Heo (South Korea/Germany), lastly, is showing work that depicts the past of a pottery that is no longer in operation. The aim is to make us more aware of our environment and our past.

Opening

The opening will take place Sunday 19 January at 3pm with an introduction by Dr Nele van Wieringen, director of Ceramics Museum Westerwald. You are welcome to attend.

Lectures and workshop schedule

  • Alix Brodeur (ceramist): workshop Saturday 15 February and lecture on Sunday 16 February, 2–3 pm

  • Nora Arrieta (ceramist): lecture on Sunday 16 February 2–3 pm (together with Alix Brodeur)

  • Annette Zeischka-Kenzler M.A. (scientific assistant, Keramikmuseum Westerwald): lecture Sunday 16 March 2–3 pm

  • Paul Simon Heyduck (ceramist): workshop from Friday 23 to Sunday 25 May

(Please book these activities via the website)

Further information

Keramiekcentrum Tiendschuur Tegelen, Kasteellaan 8, 5932 AG Tegelen.
Opening hours: Tuesday to Sunday 11 am–5 pm