Polyrhythm is a thin porcelain vessel with a graphical pattern of stripes. Inspired by a graphic print by Josef Albers, Lotte Westphael has developed a systematic scheme to work with parallel lines in different variations, with a myriad of possibilities. Lotte Westphael calls these works for « polyrhythmic style exercises: Repetition and rhythm in a complex interaction of lines with different distance, width and thickness. The polyrhythmic refers to the multifaceted in the monochrome patterns. Polyrhythm is an example of this kind of work, where Lotte Westphael has worked systematical to explore proportionality in parallel lines.Within this system of order, she allows the little variations and imperfections in the actual working process with the clay. In Lotte Westphael’s optics it gives things life. Lotte Westphael works with paper models before proceeding in porcelain.

The Danish artist Lotte Westphael makes unique vessels with structural compositions of colored porcelain. Her vessels are based on a personal immersion in a technique unfolded in a graphic universe. With strips of colored porcelain, Westphael works with vertical and horizontal lines, two-dimensionally, building patterns in 2 mm thin porcelain plates, which are finally assembled into cylindrical jars. Westphael is interested in the three-dimensional potential of the cylinder form, and she works with the interplay between the inner and outer side of the jars. The manufacturing process is slow and the waste rate is large. Her vessels are translucent and fragile, and at the same time with a strong, geometrical expression.

  • Porcelain 
22.2 x 18 cm

    Polyrhythm II
    22.2 x 18 cm

  • Ceramic
18 x 9.6 cm

    « My vessels are called “Syncope” and the name refers to a musical expression. »

    The delicate porcelain sculptures of the Danish artist, Lotte Westphael, are based on a personal immersion in a technique unfolded within a graphic universe.

    Westphael is inspired by woven Bauhaus fabrics, and she works with proportionality in lines and colorfields, citing Anni Albers and Josef Albers as inspiration, as well as her Nordic heritage. Westphael has developed her own personal technique over the past few years with strips of colored porcelain constructed in vertical and horizontal lines. She works two-dimensionally in porcelain, where she build patterns in 2 mm thin porcelain plates, which are finely assembled into cylindrical jars: Syncopes. The outside surface of the vessel is mirrored on the inside, creating a visual relationship. She uses repetitions of lines with different distance, width and thickness to create intricated patterns. Her vessels are translucent and fragile, and at the same time with a strong, geometrical expression.

    Lotte Westphael has exhibited throughout Europe and the United States, including the American Museum of Ceramic Art, USA; The Danish Culture Institut, St. Petersburg, Russia; Kagoshima Museum, Japan; Hjort Museum, Bornholm, Denmark; Albrechtsburg Meissen, Germany; Musée Magnelli Vallauris, Sofienholm.

    Lotte Westphael, b. 1952 Denmark

    Institut of Art and Design, Design School – Kolding, Denmark, 1992-1993
    Ceramic and glass, Design School – Kolding, Denmark,

    Japan 6 months apprenticeship at Kazu Nagayoshi (3 months),
    1987 Japan 5 months apprenticeship at Donna Gilliss (3 months),
    1990 apprenticeship at Mamoru Teramoto (1 month), 1990
    Masterclass /Susan Nemeth, International Ceramics Center, Kecskemet – Hungary, 2014

    “Porcelain”, Hjort Museum, Bornholm, Denmark (2020)
    “100 years in Danish Ceramics” curated by collector Carsten Lauritsen, Skovgaard Museum (spring 2020)
    [Prolog-Epilog] -SOLO, Kaolin, Stockholm, Sweden (Octobre 2019)
    “100 years in Danish Ceramics” curated by collector Carsten Lauritsen, Sofienholm, Denmark (July 2019)
    “Vessels…at all times”, Ann Linnemann Gallery, Denmark, (June 2019)
    Design Miami/Basel 2019, Maria Wettergren Galerie, Paris (June 2019)
    Aarhussalonen, curatered af Anne Aarsland og Mette Helena Rasmussen (Septembre 2018)
    II Porzellanbiennale Meissen, Albrechtsburg Meissen, Germany (August 2018)
    Plinth Gallery, Denver USA (August 2018)
    Ceramic Art Andenne, Belgium (May 2018)
    Farenheit 2018, AMOCA, U.S.A. (Marts 2018)
    Masterpieces, Ann Linnemann Gallery, Denmark (Marts 2018)
    World Cup, Ann Linnemann Gallery, Denmark (Decembre 2017)
    Cluj Ceramics Biennale 2017, Rumania (Octobre 2017)
    “Ceramic Event VIII”, Galerie de Lô, Brussels, Belgium (Septembre 2017)
    International Triennial of Scilicate Arts, Kecskemet, Hungary (Septembre 2017)
    “Fomo 2017”, curatered by Helene Vonsil (Septembre 2017)
    Art Association by 14. August, Exhibited at A.Petersen, Copenhagen (August 2017)
    “Table for Two”, group-exhibition, Denmark (June 2017)
    “Translated into transparency”-SOLO, Dina Vejling – Odense, Denmark (May 2017)
    “Dialog”, Ann Linnemanns Gallery, 2017
    “Toy”, Ann Linnemanns Gallery, 2016
    Lerverk – Goetheburg, Sweden,2016
    The Danish Culture Institut, – St. Petersburg, Russia, 2016
    Officinet, The Crafts Prize, Copenhagen, Denmark, 2016
    Charlottenborg Springexhibition, Copenhagen, Denmark, 2016
    ”Dead pigs are laughing”, SOLO, Kähler – Næstved, Denmark 1993
    Horsens Museum, Denmark, 1993
    Juried Exhibition, Kagoshima Museum – Japan, 1987

    Danish Art Foundation, 2017, 2018 working grant
    Danish Art Foundation, 2019 projectgrant for the exhibition “Vessels…at all times” at Ann Linnemann´s Gallery.
    Danish Arts Foundation, 2019 projectgrant for solo exhibition at Kaolin, Stockholm.
    Danish Art Foundation.”Translated into transparency”, 2016
    Simon Spies Foundation, 1990
    The Scandinavia Japan Sasakawa Foundation, 1990

    Sold to ”14. August”, 2017
    The Danish Crafts Prize, ”Kunsthaandvaerkerprisen, 2016
    Villvinprize, Risør, Norway, 2016

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