Archive 2007-2008 >> PartU Renee Reichenbach

Details of Exchange Program
Renee Reichenbach

Ms. Reichenbach studied ceramic art in Halle when it was still a part of East Germany. The style of her exquisite and spiritual ceramics is created by her stoic manner of execution. In recent years she has been working on a series of long shapes reminiscent of fish or ships.


Please click here to see other works made in Seto city
ship T


Born in Jena
1980 Graduated College for Industrial Design, The Burg Giebichenstein for Art and
Design(Halle),father study until 1982
1982- Open the studio in Halle
1997-99 Guest lecture at college in Koblenz Institute
1999- Member of IAC
2006- Member of Gruppe 83
2002, 03年

1987 Bitterfelder Kunstpreises Sachsen-Anhalt,Prized
2000 German Ceramic 1900-2000 (rounded in Japan)
2002, 03 Ceramics Festival in Yingko (Taipei)

This is my first stay in Japan.

I came to here to get in touch with a fascinating culture that has a substantial influence in Europe.
I was especially interested in witnessing Japanese ceramic objects and practitioners in their country of origin and I was also hoping for a fertile moment in my own work that reflected the influence of the strange, exotic and inspiring working and living conditions.

Some years ago I started to create ceramic objects associated with the appearance of fish, boats and similarly formed things that include my basic interest in an organic connection of long abstract forms with different cross-sections
The idea of boats is very close to my work; "ship" in my language has its roots in the meaning of vessels or dishes (originating in the field of ceramics) continually inspiring my point of departure.
The Japanese archipelago allows me to continue my thought process, like work in progress associated with related forms I have discovered around me.
The way I work typically is to use coloured porcelain and other clay types inlaid in the surface of a rolled out slab of clay.
I use this coloured material partly as a plastic effect right from the beginning of forming a piece and I respond to these qualities whilst in the making process.
In this manner I usually try to develop a surface that gives the form a valuable character, a lively surface and an association to this age-old material that captures the memory of all thing around us.

In this short residency it has not been easy for me to decide on the right material and thus an appropriate way to handle it, but I have had a lot of help. I am very grateful to Ikue Miyanaga as well as her colleagues at Seto City Cultural Center, and the young ceramists in the studio. They have given me indefatigable and patient support in case of each problem that I have had.

During my introduction to the habits and customs of Japanese life, and the visual impact of Seto City and its surroundings, I have had multifarious experiences. I have very much enjoyed some warm and interesting meetings with colleagues and friends of Seto and surrounds. They have given me a good state of mind and moments of feeling no stranger in this different country.
Moreover I kept a diary:
This will help me to understand some of the perplexing contradictions I felt during this weeks here. I may have time in the future to absorb this intriguing cultural experience.
I enjoyed the time very much and I am grateful to all responsible people who made this stay possible.