99 CLAY VESSELS

Lise Seier Petersen works in the cross section between art and craft with clay as her go-to material.

 

In 2014 she created 99 very large clay vessels, which has since been sitting in the landscape by Silkeborg Bad. I photographed the coming creative process in a substantial series of images in close dialogue with Lise’s concept.

 

In the work “You cannot step twice into the same river – 99 clay vessels for Heraclitus” all the vessels are slightly different: the mix of clay types, different temperatures in the kiln, and variation in size.

 

This is not unlike a photographic process. Even though photography has a reputation for delivering correct and objective documentation, Lise’s work reminded me that ‘correctness’ in photography is an illusion. For when is a photograph ever correct?

 

The photographs are made with a choice of different settings on the camera: a fixed 4600 degrees Kelvin, which meant, that morning light, direct sunlight and tungsten light would each have their different light temperatures.

 

The camera was set to 100 ISO, but other settings I varied between three fixed shutterspeeds and three specific aperture settings. As a result, some images were very brigt, som very dark – but all equally correct.

 

Since then, I also photographed her exhibition of the same project at Officinet, Danish Crafts and Design Association.

99 LERKAR

Lise Seier Petersen arbejder i krydsfeltet mellem kunst og kunsthåndværk med ler som hendes foretrukne materiale.

 

I 2014 skabte hun 99 meget store lerkar, som siden har været placeret i landskabet ved Silkeborg Bad. I arbejdet med at skabe karrene, skildrede jeg processen i en stor serie af fotografier, som konceptuelt gik i dialog med Lises værk.

 

I værket ”Ingen kan træde ud i den samme flod to gange – 99 lerkar til Heraklit” er alle karrene forskellige: blandinger af lertyper, forskelle i brænding og karrenes størrelse.

 

Det minder om den fotografiske proces. Selvom fotografiet regnes for et medie, der kan give en korrekt og objektiv dokumentation, så mindede Lise Seier Petersens arbejde mig om, at korrekthed i fotografi aldrig er entydig. For hvornår er et fotografi korrekt?

 

Fotograferingen er derfor lavet med variationer faste indstillinger på kameraet: En fast kelvingrad på 4600 gr. Det betød, at morgenlys, direkte sollys og glødepærers lys viste sig i deres forskellige farvetemperaturer.

 

Kameraet var hele tiden sat på 100 ISO, men derudover varierer optagelserne mellem tre lukkertider og tre blænder. Nogle billeder blev meget lyse, nogle meget mørke – alle stadig principielt lige korrekte.

 

Siden har jeg skildret hendes udstilling med samme værk i Officinet hos Danske Kunshåndværkere og Designere. Læs Designetc.dk omtale af udstillingen her

 

“Tidens foranderlighed set gennem 99 lerkar” af Kamma Krogh

PROCESS VISUALIZATION

 

2014

The work of Lise Seier Petersen belongs somewhere between craft and visual art and is concerned with questions of proces, change and artistic communities. Her main material is clay but often presented in a deconstructed, experimental state, and often in a mix with other media.

 

I enjoy collaborating with Lise immensely. We share a fascination of testing our media, clay and photography, and both easily relate tactile experiments to philosophical considerations.

 

Lise Seier Petersen
PROCESS VISUALIZATION
2014

The work of Lise Seier Petersen belongs somewhere between craft and visual art and is concerned with questions of proces, change and artistic communities. Her main material is clay but often presented in a deconstructed, experimental state, and often in a mix with other media.

 

I enjoy collaborating with Lise immensely. We share a fascination of testing our media, clay and photography, and both easily relate tactile experiments to philosophical considerations.

 

Lise Seier Petersen

99 CLAY VESSELS

Lise Seier Petersen works in the cross section between art and craft with clay as her go-to material.

 

In 2014 she created 99 very large clay vessels, which has since been sitting in the landscape by Silkeborg Bad. I photographed the coming creative process in a substantial series of images in close dialogue with Lise’s concept.

 

In the work “You cannot step twice into the same river – 99 clay vessels for Heraclitus” all the vessels are slightly different: the mix of clay types, different temperatures in the kiln, and variation in size.

 

This is not unlike a photographic process. Even though photography has a reputation for delivering correct and objective documentation, Lise’s work reminded me that ‘correctness’ in photography is an illusion. For when is a photograph ever correct?

 

The photographs are made with a choice of different settings on the camera: a fixed 4600 degrees Kelvin, which meant, that morning light, direct sunlight and tungsten light would each have their different light temperatures.

 

The camera was set to 100 ISO, but other settings I varied between three fixed shutterspeeds and three specific aperture settings. As a result, some images were very brigt, som very dark – but all equally correct.

 

Since then, I also photographed her exhibition of the same project at Officinet, Danish Crafts and Design Association.

99 LERKAR

Lise Seier Petersen arbejder i krydsfeltet mellem kunst og kunsthåndværk med ler som hendes foretrukne materiale.

 

I 2014 skabte hun 99 meget store lerkar, som siden har været placeret i landskabet ved Silkeborg Bad. I arbejdet med at skabe karrene, skildrede jeg processen i en stor serie af fotografier, som konceptuelt gik i dialog med Lises værk.

 

I værket ”Ingen kan træde ud i den samme flod to gange – 99 lerkar til Heraklit” er alle karrene forskellige: blandinger af lertyper, forskelle i brænding og karrenes størrelse.

 

Det minder om den fotografiske proces. Selvom fotografiet regnes for et medie, der kan give en korrekt og objektiv dokumentation, så mindede Lise Seier Petersens arbejde mig om, at korrekthed i fotografi aldrig er entydig. For hvornår er et fotografi korrekt?

 

Fotograferingen er derfor lavet med variationer faste indstillinger på kameraet: En fast kelvingrad på 4600 gr. Det betød, at morgenlys, direkte sollys og glødepærers lys viste sig i deres forskellige farvetemperaturer.

 

Kameraet var hele tiden sat på 100 ISO, men derudover varierer optagelserne mellem tre lukkertider og tre blænder. Nogle billeder blev meget lyse, nogle meget mørke – alle stadig principielt lige korrekte.

 

Siden har jeg skildret hendes udstilling med samme værk i Officinet hos Danske Kunshåndværkere og Designere. Læs Designetc.dk omtale af udstillingen her

 

“Tidens foranderlighed set gennem 99 lerkar” af Kamma Krogh

2018 EXHIBITION

After almost four years, the vessels in the garden of Silkeborg Bad had changed significantly. Some had disappeared, some had cracks and plants sticking up through them. Weather and plants witness times passing.

 

In the exhibition space in Copenhagen, Officinet, Lise Seier Petersen summed up her work with the large vessels and included the images from the process of creating them, and images from the time since.

 

The images below are my documentation photographs from the exhibition.

2018 EXHIBITION

After almost four years, the vessels in the garden of Silkeborg Bad had changed significantly. Some had disappeared, some had cracks and plants sticking up through them. Weather and plants witness times passing.

 

In the exhibition space in Copenhagen, Officinet, Lise Seier Petersen summed up her work with the large vessels and included the images from the process of creating them, and images from the time since.

 

The images below are my documentation photographs from the exhibition.

IMG_9104_lille-billede