Ringebu prestegard, fjøset i den gamle driftsbygningen. Fjøset blir i løpet av våren 2017 tilrettelagt som permanent utstillingslokale for Torbjørn Kvasbø. Fjøset er på ca. 120 m2, 230 cm takhøyde, og beholdes stort sett slik det er, men vasket og rensket. Åpning 10. juni 2017.
Resten av driftsbygningen er ryddet og rensket, og vil i etapper over flere år etterhvert bli satt i stand til et flerbruks kulturhus som en del av Stiftelsen Ringebu prestegard.
1995 University of Missoula, Montana, USA. “Woodstack `95”. The University of Montana and the Archie Bray Foundation worked together to sponsor a series of events surrounding the historic reunion of Rudy Autio and Peter Voulkos in Montana.
From the left: Jim Leedy, Peter Voulkos, Peter Callas, Beth Lo (organizer from Missuola University), Johs de Weese (organizer from Archie Bray Foundation), David Smith, Don Reitz, Ken Ferguson, Don Bendel, Torbjørn Kvasbø, Rudy Autio, Yokio Yamamoto. Photo: Missuola University
International ceramic workshop, Ringebu, Norway 1993. Produced by Torbjørn Kvasbø. Sponsored by Lillehammer Olympiske Organisasjonskomité (LOOC, Lillehammer Olympic Organizing Committee).
USA: Rudy Autio, Peter Callas, Jim Leedy, Bob Shay, Peter Voulkos, Chuck Wissinger
England: Michael Flynn
Denmark: Nina Hole
Australia: Janet Mansfield
Finland: Tapio Yli-Viikari
Norway: Hanne Heuch, Tor Hvammen, Poul Jensen, Ole Lislerud, Svein Narum, Tove-Lise Røkke Olsen, Harald Solberg, Kjersti Teigen, Gunnar Thorsen, Marit Tingleff, Torbjørn Kvasbø
Site specific large scale works, Kalmar Ceramic Workshop, Sweden, 1997. Organisers: Kalmar Municipality, Departement of Culture, Kyrre Dahl and Lena Johansson. Five invited artists from each of the Nordic countries: Kennet Williamson, Sweden; Pekka Paikkari, Finland; Gudný Magnúsdóttir, Iceland; Nina Hole, Denmark; and Torbjørn Kvasbø, Norway (organiser). Twenty assistants recruited from art college students within the five Nordic countries.
Fibre kiln, wood-fired. W 550 x D 250 x H 180 cm. Built with 1″ ceramic fibre attached to iron reinforcement net . Three stoking holes in front.
Untitled 1997. Local earthenware brick clay, 100 cm extruded, perforated plastic slabs (before being chopped up as bricks) stacked on top of each other in a H 200 x W 200 x D 200 cm cube. Plastic tumbling ornament formed by sudden clay slide. Three days wood-firing in situ in a temporary ceramic fibre-lined kiln to 1150 C, natural ash glaze, flashing and melting. W 500 x D 250 x H 180 cm. Destroyed and dumped by Kalmar Municipality 1998.
The idea of the project was to construct clay works to enhance the environment of Janet Mansfields home, Morning View Farm, just outside of Gulgong, Australia. Organiser: Janet Mansfield.
Among the invited artists where Peter Callas, USA; Robert Harrison, USA; Bruce Andersson, USA; Peter Voulkos USA; Claude Presset, Switzerland; Ann Roberts, Canada; Michale Flynn, Great Britain; Bronwyn Kemp, Australia; Joan Campbell, Australia; Chuck Wissinger, Canada; Vince McGrath, Australia; Ryoji Koie Japan; Mitsuo Shoji, Japan; Nina Hole, Denmark; Gudrun Klix Australia; Richard Launder Great Britain; and Torbjørn Kvasbø Norway.
Hundreds of Australian and international ceramic artists came to participate and assist. Photo: Torbjørn Kvasbø
Morning View Farm, Gulgong, Australia.
From left to right: Con, Ursula, Torbjørn, Kay, Geoff (sitting), Stephen, Rob, Michelle (sitting), Sally, Lorna
Clay-Sculpt Gulgong. A clay ornament self-fired sculpture build on top of a clay hill. Length 500cm x width 300cm x height 70 cm . I had a team of 9 Australian ceramic artists working with me.
Firing using windfall gathered close to the work site. Clay pits where we dug the clay and mixed it with dry sheep shit to reinforce the clay to make it strong enough to hold up during construction, drying and firing.
Clay-Sculpt Gulgong. After firing to a low bisque to make the clay strong enough to stand the weather for a few years before crumbling away.
3 months residency at the European Ceramic Work Center in `s-Hertogenbosch, the Netherlands, 2003. Preparations for my first retrospective exhibition, at Bomuldsfabriken kunsthall, Arendal, Norway, 2003.
4 international artists were invited to create a series of site-specific works at Ibstock Brick Ltd`s Gorsty Quarry: Neil Brownsword, Great Britain (organiser); Alexandra Engelfriet, the Netherlands; Pekka Paikkari, Finland; and Torbjørn Kvasbø, Norway.
Filmmaker Johnny Magee, Great Britain.
Marl Hole is an encroachment hard to imagine. Notions of the familiar were pulverised and references to its scale difficult to comprehend. Initial frustrations were physically made manifest: form and psychology merged. Emotional discharges became an embodiment of feelings, and the works became actual experiences in themselves.
Residency 24-28 August 2009.
Newcastle-Under-Lyme, Staffordshire, Great Britain.
What happens when four independent artistic visions culminate as one? What is of primary importance: the journey or the final destination? How can transient curiosity in a material capable of preserving every thought, action and reaction be made tangible for others?
As opposed to the Marl Hole project, where, although all working in
the same quarry, the artists were making separate artworks, the
small size of the space in Ringebu forced them to actually collaborate
on the making. Instead of each undergoing their own individual process, they now
undertook a real collaboration process.
Norsk Teknisk Porselensfabrikk, fra 1916, er en av Fredrikstads eldste gjenlevende bedrifter. De har hatt 535 ansatte på det meste, har i dag 30 totalt hvorav 22 mann på gulvet. De konkurrerer over hele verden på kvalitet og leveringstid, over hele verden, men har ingen mulighet på pris. Photo: Torbjørn Kvasbø
NTP 2013-2014. Torbjørn Kvasbø. NTP porcelain, extruded pipes dia. 170 x 30 mm thick. Angle sliced with cutting wire and remodelled together. Unfired. App. w 140 cm. Photo: Torbjørn Kvasbø