Jos Stumpe

Part-time Ceramic Design 09 | 11

Architecture Table Ware Touch Me

Hypothetical Exhibition Transformation

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Connect ing Spaces

The Bui ld ing Mater ia ls Inspirat ion

Literature

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Colours & Shapes Matching Exter ior

New Sketches Bui ld ing: Coloured Spaces

Environment•Philips’ Factories Area•Philips’ Football Stadium• Village for Philips’ Workers

The Bulb A ceramic blow up of the original light bulb, about 1,25m high on a 2m stainless steel base, lighted from the top of the base with Philips’ latest lumiblade lighting technology. An icon of the past becomes a sign of the future. The lines in the bulb refer to the leather patches of the football.

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The Bulb Connect ing spaces

Inside the building, in the colourful open spaces, the Bulb will have a golden or silver glow, corresponding to the texture of the bricks used for the front of the offi ces. The bulbs outside the building will be glazed with colours corresponding to the colours used for the open spaces. In this way interconnections between inside and outside arise.

Le Restaurant has one star in the 2010 Guide Michelin

Serves a full evening dining experience

Has a homelike atmosphere

Personal service by Jan and Kostya, the owners

Eccentric interior design

What can ceramics add to Le Restaurant?

Tableware that marks the uniqueness of food, service and interior

Each piece of tableware unique of its own, but together making an ensemble in material, style and colour

Tableware to serve the amuses and fi rst small courses on and which is present on the table when the guests arrive

Tableware made of porcelain because of the eccentricity of the material

L a & L eporcelaine restaurant

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p r o c é d éAfter having discussed shapes and patterns, we agreed on a serving plate with a diameter of 23 cm and a bread plate with a diameter of 15 cm.

How to produce porcelain plates that are more or less round and shrink evenly to the desired diameter?

I tried different methods to solve the many problems which occurred.

Eventually I made massive porcelain supporting pieces on the wheel and let them dry.

After rolling white and coloured porcelain with the rolling pin, I made them even with the slab press.

I cut round shapes (27 and 19 cm diameter) out of the slabs and put them on the supporting pieces to dry with cloth in between.

After biscuit fi ring the plates on the supporting shapes, I polished the plates and fi red them at 1240˚C, again on the supporting pieces with silver sand between the plate and the supporting piece.

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L a dans L eporcelaine restaurant

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Les extrêmes se touchent is what I have in mind for the Touch Me exhibition. This can be different materials, like concrete, glass (concrete), felt, textile, wood, steel, rubber, magnetic concrete. This can be a sensation, like warm and cold, soft and hard, strong and weak. This can be a shape, like moving versus still, fi gurative and abstract. This can be a message, like a political one.

Touch Me Exhibition | Developm

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The concept of the tile fl oor with Our Social Climate Could Use Some Global Warming theme attracts me most. I will make two sets of tiles (approximately six rows of six tiles 13x13cm each), one with a traditional delft blue decoration, one with a traditional Arab decoration. These are decals on tin glaze. I want to print only the blue decoration, using the tin glaze for the white parts. In the middle part of the piece I want to suggest that the tiles clash like drifting ice. To suggest the icy social climate I want to spray white onglaze on a part of the decals.

Inspirat ion

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Testing clay bodies

Testing glazes

Firing tiles

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Self-Portrait As A Building

“Well it started when I was 18, in 1986. I wanted to write a

book. With all the writing materials I had, like ballpoints,

pencils and erasers, I made a floor plan on the floor. It was

a flat building with nine rooms. I called it Inhabited for a

Survey and it served as the basis for a written self-portrait,

which was to be formed collectively by seven imaginary

persons living in the floor plan. It was to be a book without

a beginning or an end, one that I would always have to

keep working on. I wanted to project a mental self-portrait

onto this floor plan, one in which everything would take

place only in language. Making a self-portrait seemed to

me the most fundamental thing to do. However, while

writing it I found I did not like the idea of using written

sentences to dictate to the audience exactly what they

should think. I did not want the selfportrait to become

really personal - it had to remain abstract. I became more

and more fascinated by the physical manifestation of the

floor plan: how I stood there before it as a human being;

how tall I was in relation to the things on the ground;

how the changing light transformed a ballpoint pen so

dramatically; how I could bring my eye closer to an eraser

and what then happened inside my head.”

Number 5

“A recurring theme in my installations is the number 5. Since

1993 I am occupied with it. I have chosen an object from the

world to have a compulsive relationship with. I do this to

find out how my mind works. This could have been a colour,

or shoes, but ‘5’ seemed to be the most appropriate. From

that moment on I see five everywhere. Five trees. Five letter

words. Five fingers. Three erasers and two pencils.”

Parallel Occurrences

“The audience is not there when I create, I

create everything for myself. If the audience

was in my head, I would be a designer who

makes something between the creator and the

public. Depth is not possible then. Art is about

comparison. Art is located in a space which has

the power to let you experience something inside

your head in a certain way. There are people

who want to look at this something in the same

special way. This happened once when I showed a

work in a supermarket. This work was at the same

time in a supermarket and in the area of art. It is

interesting that two kinds of audience occur at

this kind of places. “

the artist | mark manders

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beautiful daylight

industria

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this piece has a ‘plinth’

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5 Letter Word

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a very b

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locally grown products

the venue | marqt

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hO ld Amsterdam > New Amsterdam

Since we are seriously thinking about

moving to New York, I want to express the

transformation from Amsterdam to New

York. Last year we celebrated 400 years

relationship between Old Amsterdam and

New Amsterdam (Manhattan).

My fi rst idea is to make an installation with

the original lay-out of the canals as centre

piece. This piece will sit on a collection of

wooden piles (branches actually). As you

may know, Amsterdam is built on wooden

piles. I want to make this piece of red clay,

with a relief of the canals (the blue part on

plan). The branches will stand on a slab of

black clay.

On the centre of Amsterdam the tongue-

shaped Manhattan island will take its place

with its sky-scrapers. I would like to make

these sky-scrapers of glass and fuse these

with a slab of white clay.

Idea Mater ia l Sketch

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tO ld Amsterdam > New Amsterdam

Elements

The base of black clay with holes for the

screws which will hold the branches

Amsterdam made of red clay with glass in

the canals. On top of it the porcelain slab

for Manhattan

Elements connected

The branches connected to the black base with

screws, Amsterdam and Manhattan sitting on top of it

waiting for the glass skyscrapers

Glass skyscrapers

First try to put skyscrapers cut out of glass on

Manhattan

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