Torbjørn Kvasbø
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2000. Wood-firing as a teaching method. Torbjørn Kvasbø

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Since I am a practising woodfiring ceramic artist, I will finish with the following experiences:

Wood-firing as a teaching method

Social and professional interaction between people as an element in the learning process.

Integration between theory and practice.

By way of working with the dynamic of groups, one discovers that learning happens easiest in an environment where there is a dialectic tension and conflict between immediate concrete experience and analysis. By bringing together immediate concrete experience with terminological models in a social and open atmosphere, where contributions from both perspectives can challenge and stimulate one another, a vital and dynamic learning environment is created.

Body, space and material

Bodily movements are not only anatomical, physiological functions, they are also a precondition for visual perception and visual operativ thought. The external framework factors are decisive for the degree of interaction between body and its surroundings (i.e. space) and the body and the materials. The most important factors for creation of forms are space and material. The body and space are basal, existential entities. The body`s encounter with space and material, presence, characterizes this process and is crucial for the learning that takes place. The aesthetic realization is developed by the sensitive perception of the concrete activity.

Responsibility and collaboration, sensing and experience

The wood-firing process is usually of such a nature that several people work together towards a common goal. Everyone wants it to work. Co-operation requires responsibility, vigilance and input from the idividual. The understanding and significance of responsibility and co-operation grow through the process.

Knowledge of firing is acquired through active participation in the firing process, through academic exchanges and discussions. Personal relations are established that play an important role in the terms of the individual`s development as a ceramic artist and as a person. It breeds a close relationship to the actual process. In addition to having to work hard physically simply to keep the firing process going, auditory and visual sensing are essential for ensuring the success of the firing.

This represents a learning process where the students participate in the physical treatment of the materials through sensitive presence and action in response to the processes occurring inside the kiln. It creates a sense of closeness to all the elements involved and faith in one`s sensory perceptions. This physical presence makes the aspect of experience decisive for the learning that occurs.

It creates a tight-knit, intense and living learning situation.

Torbjørn Kvasbø

Attachments

  • Woodfiring, personal statement (21 kB)
    • Articles
    • 2018: Lek på ramme alvor: Tre kritikere om fire kunstnere og hvorfor det er viktig å snakke om kunst
    • 2017 Torbjørn Kvasbø - Ekspressiv keramikk av Mats Linder
    • 2017 Q&A Kazuko Todate with Torbjoern Kvasbo
    • 2017 Andre Galis Fjøset, Ringebu Prestegard
    • 2016 Modern Ceramics of the Twentieth Century – The Hinder/Reimers Collection of the State of Rhineland-Palatinate, Edenkoben, Germany, June 12th 2016
    • 2016 Geometry of Chaos
    • 2015 CLAYarc Gulgong
    • 2014 Intonation Deidesheim. Rapport fra en deltager; Torbjørn Kvasbø
    • 2014 "Transformator". Åpningstale Torbjørn Kvasbø
    • 2013, Passasje magasin.
    • 2013, Åsmund Thorkildsen, Drammens museum.
    • 2012, Kunsthåndverkprisen
    • 2012, Aftenposten K-magasin: "med kunstnerens egne ord."
    • 2010 Ceramic expressionism
    • 2009, Crafts Nov Dec. Grant Gibson
    • 2008. Norske Kunsthåndverkeres ærespris til Torbjørn Kvasbø
    • 2008 Gustavsberg ABs keramikstipendiat. Pressemelding
    • 2004, Tanya Harrod om Kvasbø i Crafts Jan-Febr
    • 2004, Jorunn Veiteberg. Kunsthandverk nr. 1 (eng.)
    • 2004, About the untamable. Gabi Dewald. Keramik Magazin no 2
    • 2004 Jorunn Veiteberg. Kunsthandverk nr. 1
    • 2003, VG-omtale, Lars Elton
    • 2003, Om det som ikke kan temmes. Gabi Dewald. Katalog Bomuldsfabriken
    • 2003, Mot Beleiring. Line Ulekleiv. Katalog Bomuldsfabriken
    • 2003, Breaking the traditional mold. Line Ulekleiv. Katalog Bomuldsfabriken
    • 2000. Wood-firing as a teaching method. Torbjørn Kvasbø
    • 1999. Norwegian Clay. Garth Clark. Foreword to the cataloque "Norwegian Contemporary Ceramics" Amsterdam 1999. Editors: Torbjørn Kvasbø, Jorunn Veiteberg.
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