The Birth of Ceramics and their decoration in the artistic sense can be dated back to the Neolithic period in Europe. There were different, geographically clearly delineated trends, like the Danubian Linear pottery or the Cardium Ceramics of the Western Mediterranean region, but something connected these ceramics: the analogy of the human destinies that created them.
I wanted to unearth and extract some of the essential, timeless beauty of those New Stone Age ceramic pieces and blend it to my current line of work to create something contemporary, experimental, unseen. My plan was not to make replicas in any sense, but to capture their harmony and create something recognizably and authentically mine. This work was partially funded by the National Cultural Fund of Hungary.
ResearchAfter checking local museums I made a series of visits in Southern and Eastern Spain (Granada, Córdoba, Málaga, Murcia and Valencia) in 2018-19 to do some research on Neolithic era ceramics of some 6-7000 years ago, typically of the La Almagra and the Western Cardium cultures.
It was the proportions of the ancient, almost tangible objects that made the strongest impression on me: the bends following the shape of our ancestors’ hands, the many possibilities those vessels’ round bottoms offered. While Neolithic cultures didn’t use the wheel in their creative process, their design can be perfectly remodeled and recreated using my preferred tool.
The characteristic, primeval shape of these pieces contrasts greatly with traditional pottery (what is considered traditional today) and this contrast makes them a natural and perfect fit for modern interior design trends.
I tried to channel the essential beauty of those ancient pieces through my raw, plain surfaces and simple forms, highlighting what clay has to offer. Less is more: the simpler this reinvented beauty is the closer it gets to carrying that remote essence of harmony in today’s world.
“Neolithic” stoneware tableware designBasically, I wanted to recall the muted, earthy tones of Neolithic ceramics by producing deliberately unpredictable surfaces even when using an electric kiln. As I didn’t find commercially available glazes and clay bodies that fit my needs, I mixed a custom clay and a glaze to match these goals, still keeping them suitable for daily use in modern environments.
The simplistic, plain decorative elements used in this series recall the natural, smoky memories of Neolithic objects, while the technology and the custom-made materials used in the making produce highly functional and durable ceramic pieces suitable for modern homes or even fusion restaurants.