January 29, 2025
Until recently, I had naively not heard of Ceramics Brussels - a ground-breaking international art fair dedicated entirely to ceramics. Situated in the vibrant cultural hub of Tour & Taxis in Brussels, this event brings together over 60 galleries, institutions, and creative leaders from the ceramics world, making it a must-visit for artists, collectors, and enthusiasts alike.
With thoughtfully curated exhibitions, solo shows and insightful talks, the fair offers a sensory feast for anyone passionate about contemporary ceramics. My introduction to this remarkable gathering came through ceramics curator, activist-scholar and coach Wendy Gers, whose enthusiasm led me to board the early morning Eurostar train on Friday (24/01/25) with excitement buzzing through me.
By the time my train rolled into Brussels, the fair was just opening its doors, and I joined a growing crowd of eager visitors. Wendy greeted me at the entrance, introduced me to a fellow ceramicist Keenan Julies, and together we stepped into the vast exhibition space. The sheer scale and dynamic energy of the event were immediately captivating. From ground-breaking techniques like 3D printing to the timeless beauty of hand-crafted vessels and sculptures, the artistry on display celebrated ceramics in its many forms—one raw material, endlessly shaped and transformed into a thousand unique creations.
Guided by Wendy’s expertise, I began navigating the fair, gaining invaluable insights as she highlighted standout artists, discussed emerging trends, and shared concepts that only someone deeply rooted in the ceramics world could offer. Later in the afternoon, I ventured out on my own, immersing myself in the galleries' offerings. Some featured intimate solo exhibitions, while others presented carefully curated collections showcasing the diverse talents of multiple artists.
In this post, I’ll share key highlights from the fair, showcasing standout artists who captured my imagination—whether through remarkable craftsmanship, innovative design, technical mastery, or thought-provoking pieces that connect aesthetics with environmental activism. Whether you’re a devoted ceramics enthusiast or simply curious about contemporary art, this journey through Ceramics Brussels offers insights and inspiration to help you discover exciting new artists and their creations.
As I explored the exhibits, one theme stood out and seemed to underpin much of the artists' creative inspiration: nature. For centuries, nature has been a powerful muse for artists, and it’s clear that this timeless source continues to spark creativity in the 21st century.
While nature offers endless possibilities for artistic interpretation, many ceramicists at the fair appeared particularly drawn to underwater life, natural rock formations, and geological processes. Some presented vibrant, literal depictions, while others embraced a more abstract approach, exploring nature’s textures, colours, and organic forms.
Nature has always been central to my own work as well. My signature "Tangled" pattern emerged from studying the intricate web of a spider. Seeing how other ceramicists interpreted similar natural inspirations was fascinating—each artist employing distinct techniques to bring their vision of nature to life, offering fresh perspectives on this ever-relevant theme.
One artist whose work captivated me was Delphine Courtillot, showcased in a solo presentation by Gallery Dudokdegroot from Amsterdam. Originally a painter, Delphine transitioned to working with clay about a decade ago, bringing a poetic sensibility to her exploration of geological processes—those slow, patient transformations that unfold over millennia yet often go unnoticed.
Her glazes, both intuitive and thoughtfully composed, played with the contrast between matte and glossy surfaces, creating a stunning interplay of natural tones. I was drawn in by her earthy colour palette and the tactile quality of her sculptures, which invited viewers to move around and uncover hidden details from every angle.
Her collection evoked a profound sense of calm, immediately transporting me to a tranquil woodland. I could almost feel the sensation of walking barefoot across a mossy forest floor, surrounded by tiny bursts of colourful plant life thriving in the damp earth. Despite its abstract nature, her work retained a subtle sense of reality, achieved through her deep understanding of texture and tone. It was both visually and emotionally grounding—a beautiful reminder of nature's quiet, enduring transformations.
Among the many captivating exhibits at Ceramics Brussels, I couldn’t help but be intrigued by the solo exhibition of Jonat Deelstra, presented by GoMulan Gallery from the Netherlands. Another artist deeply inspired by nature—specifically the underwater world—Jonat’s work stood out not just for its beauty but for its bold conceptual vision.
Jonat believes that “art has the power to inspire and raise awareness about environmental issues, including the importance of protecting ecosystems like coral reefs. Artistic installations and initiatives can capture people's attention, evoke emotions, and encourage them to take action to protect the environment.” This driving force was evident throughout the collection he presented at the fair.
At first, I was drawn in by the gentle colours and natural textures of his work, which exuded a calming yet thought-provoking presence. His pieces explore the idea of creating sculptural surfaces that coral can attach to and grow upon, offering a helping hand to fragile ecosystems. But as I delved deeper into his exhibit—particularly through a video that accompanied his presentation—I uncovered a more radical concept behind his work: clam-shaped coffins.
Yes, you read that right. Deelstra has imagined a way to repurpose burial practices to benefit marine life. His beautiful, intricately crafted clam-shaped coffin vessels are designed to rest on the seabed, where they would encourage the growth of new coral life over time. This concept is undeniably provocative—some might call it bonkers, while others might deem it sheer genius.
Of course, this idea comes with significant barriers. For one, it’s currently illegal to place human remains in the sea, making this concept more of a speculative vision than an actionable practice. But isn’t that the role of the creative mind? To provoke thought, challenge norms, and push civilizations and cultures toward new ways of thinking? Jonat’s work certainly achieves that.
Whether or not his clam-shaped coffins ever become a reality, his collection was a striking reminder of how art can bridge the gap between human creativity and environmental consciousness. It left me reflecting on the potential of ceramics to not only be beautiful but to serve a purpose—an intersection where aesthetics and activism meet.
While my current work centres on sculptural forms, my deep love for vessels remains unwavering. After spending the past 20 years creating them, it’s impossible not to feel a strong connection to their form and ideology. So it came as no surprise that I was utterly enchanted by the collection displayed by Puls Gallery from Brussels, particularly the work of Anders Børgesen.
His meticulously hand-carved vessels were a testament to precision, craftsmanship, and thoughtful design. Blending influences from nature, architecture, and culture, Børgesen’s pieces achieved a harmonious balance—organic yet geometrically aligned forms that radiated both intricate detail and serene simplicity. His use of natural-toned glazes added to their tranquil beauty, evoking a sense of calm.
What struck me most was his philosophy: "Ceramics should not only be seen, it should be felt." This perspective resonated deeply with me. Touch and engagement have always been central to my creative process, especially in my Tangled Web collection. There’s an innate human desire to explore objects beyond just the visual—to feel their surfaces and textures, especially when they surprise us by being different from what our eyes predict.
Perhaps this tactile interaction is what fundamentally sets vessels apart from purely sculptural works. Sculptures often challenge the viewer to engage intellectually, exploring concepts and provoking thought without necessarily requiring touch. Vessels, on the other hand, beckon us to hold, handle, and physically interact with them. They demand investigation through multiple senses.
This distinction raises an intriguing question: Is the sensual engagement with vessels what truly separates them from sculptural forms? It’s food for thought—a debate worth continuing as I reflect on the evolving relationship between function, form, and artistic expression.
The three artists I’ve highlighted above left a profound impression on me, offering invaluable inspiration as I embark on creating and developing my new sculpture collection. Their work sparked thoughtful reflection, each in a unique way.
Delphine Courtillot’s pieces stood out for their remarkable ability to bridge abstraction and natural reality. Her nuanced colour palette and tactile textures immediately triggered vivid sensations, transporting me from visual engagement to imaginative immersion. This powerful connection between art and nature inspired me to return to my early days of sketching and observing natural forms under a microscope—re-exploring textures, organic shapes, and nature’s often-overlooked monochrome palette. While Delphine’s work embraces natural tones, my practice gravitates toward stark contrasts, typically in shades of white or black. Yet even in nature, monochrome hues quietly thrive, offering endless creative possibilities.
Jonat Deelstra’s bold conceptual work, especially his radical clam-shaped coffin design, challenged me to think beyond aesthetics and dive deeper into the role of ceramics as a vehicle for environmental awareness. His thought-provoking pieces reminded me that while many of us are inspired by nature, few ask how our art can actively contribute to preserving it. Jonat’s work nudged me toward a more intentional approach—creating pieces that not only captivate but also promote meaningful reflection and sustainability.
Finally, Anders Børgesen’s vessels embodied everything I admire about handcrafted ceramics: captivating visual aesthetics, meticulous craftsmanship, textured forms, and an elegant interplay between organic shapes and geometric precision. His work reaffirmed my enduring love for vessels while prompting me to think critically about my transition into sculptural forms. What truly defines a sculpture? How does it differ from a vessel, both in purpose and sensory engagement? These are questions I find myself pondering deeply as I navigate this new chapter of artistic exploration.
Each artist, in their own way, has inspired me to push boundaries, refine my vision, and hopefully create work that not only speaks to beauty but also serves a greater purpose.
My trip to Ceramics Brussels was an inspiring and enriching experience. The wealth of ideas and insights I gained will undoubtedly shape my new body of sculptural work, which I’m excited to launch later this year.
If you’re a ceramics enthusiast, I highly recommend adding Ceramics Brussels to your calendar for next year. It’s a vibrant celebration of the art form, showcasing the incredible range and creativity that ceramics has to offer.
Stay tuned for updates on my upcoming projects—there’s so much more to come!
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