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Ceramic art in Flanders from the eighties on or the decline of figural sculpture
At the beginning of the eighties, Belgian ceramics occupied a
special place within the European ceramics scene because of its
sculptural character.
The absence of an important ceramics industry and of a strong
potter's tradition which was to be found in the surrounding
countries, could not stop the development of creativity and
spontaneity within ceramic art. Quite to the contrary, the step
towards making ceramics as an independent means of expression
could even be taken earlier and more easily than elsewhere.
Henry van de Velde (1863-1957) was undoubtedly the initiator of
this new development. Inspired by his teacher Van de Velde,
Pierre Caille (°1911) broke new ground, at first hesitantly in
his own work (from 1942 on) and later more convincingly as a
professor at Ter Kameren (from 1949 on).
Because of the lack of interest for and openness to this form of
ceramics however, another two decades were to go by before our
Belgian artists began to receive the international recognition
they deserved. Particularly the figural sculptures by the
Flemish ceramics artists Carmen Dionyse (°1921), Octave Landuyt
(°1922), Jose Vermeersch (°1922), Achiel Pauwels (°1932) and
Yves Rhayé (1936-1995) made a great impression during
international exhibitions and competitions (e.g. from 1964 on,
at the Concorso della Ceramica d'Arte in Faenza). Their
generation broke forever with purely utilitarian ceramics. Free
expression became more prominent in Flemish ceramics during the
sixties and seventies.
Although they gained recognition rather quickly at the inter-
national forum, countries such as France, the Netherlands,
Germany and to a lesser extent Great-Britain, where sculptural
ceramics hardly existed at all, found it difficult to appreciate
the Flemish contribution and place it within the history of
ceramic art. We had to wait until 1980 before a genuine interest
grew abroad for the work of a whole group of ceramists who had
been active here before 1970.
While these artists continued to build on their international
repute, a new group of promising artists had arrived in the
seventies, such as Piet Stockmans and, somewhat later, Tjok
Dessauvage1.
With the exception of Piet Stockmans and the much missed Patrick
Van Hoeydonck, they were all taught by one of the established
artists in Belgian sculptural ceramics.
From then on, we can see a remarkable rise in the importance of
sculptural ceramics which meant that Flanders gradually lost its
particular position.
Contrary to their predecessors, most young artists produced
sculptural forms which did not directly refer to human or animal
figures.
The developments in ceramic art since 1980 must be seen against
this background.
Piet Stockmans
Piet Stockmans (°1940) occupies a special position, since he is
also very active as an industrial designer. Although he would
only begin to play an important role in ceramics later, he has
been able to follow the developments within ceramic art closely
from the early sixties on2.
When he graduated in 1963 from the Sculpture and Ceramics De-
partment of the Provincial Higher Institute for Architecture and
Applied Arts in Hasselt and in 1966, as a modeller at the
Staatliche Höhere Fachschule für Porzellan in Selb (in the
former BRD), he was immediately employed as a free-lance at the
'Porselein- en Tegelfabrieken Mosa B.V.'13 in Maastricht and
three years later, he already received a teaching post in
'Product development' at the Municipal Higher Institute for
Visual Communication and Design in Genk4.
He is the only industrial designer in Flanders along with Vic
Goyvaerts (Arabia, Finland). During his 26 years at Mosa, he has
designed more than 150 different pieces in china. Before 1969
and after 1983, he regularly designed household china and, in
between these two dates, he produced hotel china5. In 1967, he
designed the stackable cup 'Sonja' (1967) of which 30 million
pieces have been produced, while in the meantime he also
designed the most ingenious sets and services for hotels and
institutions. What interested him the most however, was
designing products for the disabled. His decoration-free white
objects seem cool and businesslike. Yet, designs such as his
multi-functional 'Passe-partout' services and his breadboard,
which enables the disabled to butter and cut bread with one
hand, prove that creativity can triumph, even when designing
industrial products. It was extremely important that these
designs suited the market, were functional and reasonably
priced, could be manufactured and matched the company's existing
collections. This was in fact the reason why Piet Stockmans
started his own design activities in 1987 under the name Studio
Pieter Stockmans (independent of his contract with Mosa) and
finally left Mosa in 1989. He felt that as a designer, he was to
dependent on other factors and moreover that he had insufficient
control over the composition of the collection. Together with
Henk Dressens, he then started his own factory in Genk which
employed 35 people all trained by himself. In January 1992
however, technical and financial reasons forced the NV Pieter
Stockmans Products to close its doors. During that period, the
very successful and highly refined service series "Expression"
(1991) was put on the market (see fig.) and since the closure of
the factory, is being produced in Weimar (Germany) and sold by
the Dutch company Indoor B.V.. This company also sells other
designs by Stockmans, such as the 'Modus vivendi' service.
Stockmans is regularly invited as a guest lecturer at home and
abroad to discuss his work and on each occasion, he repeatedly
states how much he considers his industrial work as being a
heavy intellectual process, one of continuously re-evaluating
the rules imposed ... while his free work always comes as a
relief in which emotion, sensitivity and the tactile can be
given free reign. "My industrial work is produced by my head, my
free work stems from my body" is one of the well-known state-
ments he continues to repeat during his lectures.
Although he has been making free work from the very beginning,
we had to wait till the end of the seventies before he really
came into his own as an artist. Since his participation in the
summer exhibition "Young Ceramists, Belgium 1980" at the Meeting
Centre Scharpoord in Knokke-Heist, exhibitions have followed one
another at an increasing pace. 1980 was also the year in which
he bought his new oven, allowing him to experiment at his own
workshop. "One can indeed speak of a whole revolution that is
still going on. The exhibition in Hasselt was a climax in this
process. Until the very last day, I was producing work and
removing older pieces and this resulted in an exhibition of the
production of only one year. And what a year it was!"6. We can
therefore rightfully say that his breakthrough occurred in 1981
during the exhibition in the Provincial Museum of Hasselt, with
the furniture producer ARTIFORT in Maastricht (the Netherlands)
and in Genevilliers (France) where his first spatial
installations were put on display (ill.). In 1983, he
participated in the 17th biennial in Sao Paulo (Brazil). In
October 1985, he was invited along with Frank Steyaert and eight
other famous ceramists from abroad to participate in the large
exhibition "Dragon Stone" at "The Art Gallery at Harbourfront"
in Toronto (Canada) during the 4th "International Ceramics
Symposium". The artists on display there were considered by all
to be the "leading edge" of the international ceramics scene of
that time8. All participants shared a capacity for being
daringly expressive and highly individual in their use of the
medium clay. Stockmans' four large wall installations and a
floor installation created an impressive feeling of
spaciousness. Because of the fresh, innovative and even revolu-
tionary nature of these installations, Piet Stockmans was
considered the odd man out at the exhibition. In 1986, shortly
after taking part in Toronto - which was an important step
towards international recognition - he was asked to do his first
retrospective at the Museum for Decorative Arts in Ghent. Ever
since, the interest for his oeuvre seems to have become
limitless. In 1988, he was awarded the 'Staatsprijs van de
Vlaamse Gemeenschap voor de Beeldende Kunsten' (State prize of
the Flemish Community for the Plastic Arts). Stockmans'
exhibition with Johan Van Loon and Jan Van der Vaart in 1991 at
the famous Municipal Museum of Amsterdam, was also a milestone
in his career. Moreover, several large museums in Belgium and
the Netherlands started buying his work and he has been asked by
some clients to integrate his ceramics into pieces of archi-
tecture. And as if that wasn't enough, he was also appointed
Cultural Ambassador of Flanders in 1995.
At first, Piet Stockmans did not produce large-scale works. In
fact, he first began by putting the rational dimension of indus-
trial production into question in rendering cups unusable by
changing them slightly, for example (see fig.). Only later (by
the end of the seventies), did he start to revolt against the
impersonal aspect of repetition in floor and wall installations,
it being the conditio sine qua non in industry where the object
designed must be suited for mass-production.
In certain works, the step taken from industrial to free work is
more than evident. Examples are his series of vases (see fig.)
dating from 1980 of which Stockmans made variants in 1987 and
1994 (shown in the catalogue section). These were produced
industrially and were intended as serial products (and therefore
were also stamped). But because of the manual changes carried
out during manufacture, the work also has a strong personal
character.
There are indeed links between his industrial work on the one
hand and his independent work on the other.
There is his preference for pure china, something he had learned
to master as no one else during his training courses and
experiments at Mosa. "It could be any material whatsoever as far
as I'm concerned, but it so happens that my greatest skill is in
ceramics. So I do not see the use of turning to other materials.
My schooling plays a role here, my links with the industrial and
my knowledge of the materials which results in an almost
physical relationship with my work. (...) I would turn to
another material immediately if I were suddenly to realise that
what I want to make is no longer feasible in china"9. Piet
Stockmans casts practically everything himself (the last few
years he is helped by his assistant) and he gradually bakes it
at 1410°C. He colours his pieces with industrial china glazes to
which, at times, he adds some colour. He is the only one of his
generation (1965-1980) who has been so consequent in his use of
china. At a later stage, people like Tjok Dessauvage (°1948),
Patrick Picarelle (°1952), Erna Verlinden (°1953), Anne Mortier
(°1956) and Mieke Everaet (°1963) would follow in his footsteps.
Contrary to some of them, the china in Stockmans' oeuvre has
always been subordinate to its concept.
A second allusion to his industrial production in his free work
is the emphatic presence of the serial aspect of manufacturing:
the continuously recurring principle of quantity and repetition
to which he so relentlessly opposed himself. From the eighties
on, his china installations with their thousands of randomly
arranged small dishes are all identical in form and still so
different because of his subtle use of mainly blue colour glazes
and powder and he removed each one from its plaster moulding by
hand (ill.).
The effort involved in these numerous ritual unpackings and
rhythmical set-ups is comforting to Stockmans. Later on - also
because of the difficulties at his factory - this physical
aspect became even stronger until he finally and almost
aggressively rejected the functional by cutting, bending,
painting, perforating and breaking the work (ill.).
Since 1987, Piet Stockmans has also been producing multiples
which he sells in wooden boxes "to give the visitors to my
exhibitions an opportunity to go home with a souvenir of an emo-
tional experience"10.
Today, his installations consist of objects which do not always
allude to utilities which he places or has emerging from boxes
filled with straw. This change has come about organically. The
boxes have always existed, but originally they only served to
transport objects. In these installations, the objects are at
the most only partly removed from their boxes which are now an
integral part of the installation. Unpacking and storing the
wrappings is no longer necessary, therefore. In the last four
years, these objects have become masks: casts of his own face.
His two branches of activity should therefore not be considered
as being separate, but rather as being the result of an
interesting dialogue between the industrial designer and the
artist, who are both brought together in one person. On the one
hand, we have the industrial designer who works according to the
rules imposed by industry, on the other we have the artist who
reacts against this and renders useful items dysfunctional
through his actions. The strong conceptual, ritual and
repetitive nature of his free work also evokes associations with
visual artists such as Richard Long and Donald Judd and with
composers of music such as Richard Reich and Philip Glass11.
Finally, we can only confirm what Jaak Fontier already wrote
some time ago: "The subtle palette of colour, tactility and
luminosity which the china has been given, the intelligent way
the installations are integrated into the atmosphere and light
of a given space and, last but not least, the many-sided ideal
relationships which are brought about by Stockmans' vision, lift
his work to the level of the very best that is produced in this
artistic field in the Western world"12.
Tjok Dessauvage
Just like Piet Stockmans, TJOK DESSAUVAGE (°1948) took func-
tional form as his point of departure though he approached it
from another angle, subsequently giving it a more expressive and
sculptural character.
Tjok Dessauvage's contribution to the development of ceramic art
over the last 15 years can essentially be traced in his oeuvre.
As we have already mentioned above, the pre-1980s Flemish
ceramists have mainly made an important contribution to the
development of figural ceramic sculpture.
Our country can hardly speak of having a tradition in pottery,
but thanks to the contributions of Marnix Hoys (°1943), Hugo
Rabaey (°1948) and Arthur Vermeiren (°1942) we have witnessed a
revival in Flanders since 1975. Tjok Dessauvage joined the group
a few years later, followed by Rudie Delanghe (°1955) and Anne
Mortier (°1956). In their search for a greater freedom of form
and in order to stimulate their imagination, other ceramists
turned to using building and bending techniques for their
sculptural pots. To Dessauvage, turning is a challenge. "In
fact, the art of contemporary pottery still has a lot to offer
as an independent discipline. And one must focus on the specific
techniques in order to create new things. One can take turning
as a point of departure for creating something and use its
essence to arrive at a form of communication. Of course it is
easier to stop using the potter wheel, but I will continue to
use it because I think that there are still things that can be
done with it"13.
From the very start, Tjok Dessauvage was very much aware that
the pot is a great deal more than just a mere functional item.
He wanted to develope this idea. He started his ceramics studies
under Joost Maréchal (1911-1971) at Saint-Lucas in Ghent. But
when the Maréchal died two years later, Dessauvage stopped his
studies prematurely. He must therefore be considered as
essentially being a self-taught man who relied on his own hunger
for knowledge in learning about all the techniques involved in
ceramics and glazing. There were no technical manuals available
at that time.
For over twenty years, Dessauvage has been living in an old
tobacco drying shed in the West-Flemish village of Sint-Elloois-
Winkel which he has refurbished with his own hands. In 1977, he
finally began producing artistic work as a self-employed potter.
His preference for the potters wheel dates from his school days
at Sint-Lucas "... because it wasn't really the right place to
work with sculpture and you had to do something. Turning meant
that you were left in peace. So, what else could I do?"14.
Although he had always intended to make sculptures, he remained
faithful to the wheel in the end. "Turning can be condensed like
poetry, I think. Especially the speed with which you form
something out of the clay makes the distance between the idea
you have and its materialization very small indeed"15. To him,
turning clay is just another way of visualizing his ideas and
personality.
In order to survive, Dessauvage also made services and other
types of pottery on demand, rather than working in a factory or
for an institution. "But let me be very clear about this: I will
only accept these orders if they are directly related to my
craft, if they enable me to start something else"16.
For the last few years, he has no longer been obliged to do so.
He has developed such a reputation at home and abroad, that he
is now in a position to devote himself exclusively to his pot
structures.
At first, he rarely exhibited his work because it did not
interest him personally or financially.
But from 1979 till 1983, he regularly exhibited alongside Arnold
Verhé at the Arnold's Art Gallery in Ghent (till 1982, called
the Artemis Art Gallery). This resulted in his breakthrough in
Belgium.
There, he initially presented pots which had the basic form of
the 'milestones' formerly found along the streets and roads
(ill.).
Tjok Dessauvage wanted to involve and capture light in these
works. At first (1978-1980), the carvings on the horizontal axis
of the pot and the etched lines with their ash glazing on these
'milestone' volumes gave rise to an interesting play of light
and shadow, to a contrast between material and disappearing
matter. In that same period, he also produced introverted strips
(ill.) that anticipate his closed double-walled structures.
These objects have been stripped of all functionality and
express his longing to work sculpturally. Tjok Dessauvage con-
siders a pot as a dynamic wall with which one can create many
forms of expression. He wishes to go beyond the formal, aes-
thetic aspect of utilities and search for the essence of glazes
... to break new ground. In 1980, he baked his first double-
walled pot with a low-temperature salt glaze on volcanic glaze,
and with fugitive lines and incisions (ill.). The results of a
ceramic camp in which Dessauvage participated along with José
Vermeersch, Philippe Bouttens, Olaf Stevens, Anton Reynders and
Netty van den Heuvel from the Netherlands, were put on display
in Gallery Old Art in Rumbeke in 1981. It was already clear then
that Dessauvage would distance himself from the content of
traditional English design and the 'milestone' volumes. His
incisions were replaced by surfaces that broke the line of the
form, the inside and outside then becoming part of the same
dynamic (ill.).
He gradually developed from creating open forms to making
double-walled, closed shapes.
Until 1985, Tjok Dessauvage produced open, double-walled pots
which he rendered dynamic by making incisions in the walls or
along the edges or by cutting through the axis of the pot and
pushing it slightly out from the basic structure (ill.). This
part was given its own vitality which was then repeated in the
shape, the colour or in line structure. In other pot structures,
certain parts have been completely cut loose (ill.). They too,
began to live an independent life, while their link with the
original form remained more or less present. In his china dishes
from that period (ill.), he was able to evoke a very intense
dynamic thanks to the transparency of the material. He obtained
this effect by thinning down the wall on certain isolated secti-
ons to such an extent that an intense play of light was provo-
ked. Light, material and form became one. From 1985 on, he
increasingly began to use less light-intensive glazes, at the
same time turning to the technique of reductive baking17), having
first polished the leather-hard18 surface of the pot. This made
pots darker and more matt and less noticeable (ill.).
Dessauvage consciously opted for working with pots. They are the
most archetypal form found in clay and their dynamic can take
shape and expression in their surfaces. In this way, the pot can
become an abstract sculpture that transcends its traditional,
functional significance.
His first steps abroad were taken in 1984 when he was invited to
exhibit his raku work at the Desko Gallery in Kortemark along
with some other famous European ceramists19 . This Gallery, which
is run by Katy and Aimé Desimpel, is the only one of its kind in
Flanders (Brussels included) that has succeeded in surviving by
holding high quality exhibitions. From the very start, the
gallery has strived to remain international - something which
would be to the benefit of the artists selected to exhibit
there.
After that, he was invited to exhibit at the Kunst und Gewerbe
Museum in Hamburg (1985), at Gross St. Martin in Köln (1986) and
he was invited by famous ceramist galleries abroad for
individual exhibitions: Anderwereld (Groningen, 1986), De
Verbeelding (Baarle-Hertog, 1987), Gallery L (Hamburg, 1987),
Kunst & Keramiek (Deventer, 1987), Gallery L (Hamburg and
Kassel, 1988)20. The European ceramics scene gradually became
familiar with his name and oeuvre. He was selected for a number
of high-ranking competitions and exhibitions such as "L'Europe
des céramistes" in Auxerre (1989), the 8th "Biennial de la
céramique" in Chateauroux (1989), Faenza (1989 and 1991) and
"Configura" in Erfurt (1991). In Edinburgh in 1990, he was
proposed and immediately accepted as a member of the 'Académie
international de la Céramique' (the International Academy of
Ceramics) in Genève. This was an important milestone in his
international career. Certain contacts can indeed only be made
if one is a member of this academy and from then on, he was also
able to participate in their international exhibitions. This
brought him and more particularly his oeuvre, to places far
beyond Europe, as far as Japan and New-Zealand.
It is worth mentioning that these events only had a small
influence on his work. Its forms remain unaltered: the halve
sphere, the cylinder and the cone. During the last decade, the
Dessauvage pot structures have developed into inaccessibly
closed shapes, the small hole at the top still silently alluding
to the pot (ill.) however. Notwithstanding the solid appearance
of these closed forms, they are surprisingly light because of
their hollowness.
They invite us to touch them rather than lift them up: not so
much those pots with the porous, rough texture21, but the shiny
polished pot structures which betray you by showing up your
finger prints. His 'pots' are usually black, except for some red
and white ones. Here, Dessauvage has stopped using glazes. The
porous skin absorbs the light, the shiny one reflects it. He
masters the age-old terra-sigillata technique like no other.
Although his works have a perfect finish, technique is only of
subordinate importance to him, in the sense that, as far as he's
concerned, turning and baking has no ritual significance.
Tjok Dessauvage wishes to transmit a clear message in his
graphic representations on the flattened tops of his work. How
often indeed does he not refer to his pot structures as
'carriers of information', as 'relics'! He places this infor-
mation on the pot by means of a few scratched lines and dots or
by means of structures, (energy) patterns and geometrical forms
and every now and again, by means of a small erect block of
alabaster or a piece of porcelain. The surfaces thus created are
then polished separately. The small hole which is at times still
present, is like the navel of the world created by Dessauvage: a
small universe in ceramics that possesses its own 'lines of
force'. Each line of force stems from Dessauvage's own personal
experience which he abstracts by using highly significant signs
or figures, leaving him only with the essence. These experiences
can be very diverse and are taken from daily life. He likes to
observe people at work like an electrician for instance, making
a plan and carrying it out, thus succeeding in lighting up a
space. Electrical plans, mathematical figures, spatial expe-
riences etc. are represented in an abstract manner in energy
patterns or landscapes. The work 'Speelveld' (Playing Field)
refers to a moment when he was standing on an empty football
field for example. The essence of the overwhelming nature of
this (spatial) experience is represented in energy surfaces
which are sometimes left unpolished. During the last three
years, realistic images have also begun to appear in his work.
For these, Dessauvage makes use of photographic and printing
techniques. In 1993, Dessauvage won the Premio Faenza for his
'Fragementatie' (Fragmentation) (ill.), an installation of 9 pot
structures in which he made use of decorations he found on
ceramic shards. These installations should be seen as a 're-
evaluation' of the pot form as an information carrier. This work
places the socio-historic information which is transmitted
through pots and ceramics in another dimension. The fragments
are reproduced by using photographic techniques in order to
obtain 'replicas' which resemble the original as closely as
possible. They are impressions of time in which the narrative
aspect of decoration has been reformulated.
It must have become clear by now that Dessauvage is not in
search of spectacular innovations. For years on end, he has been
using the same austere basic form i.e. the pot. He has used the
same shape time and again but never in lively colours. His
unobtrusive yet consistent innovations are to be found on the
upper surfaces. In this way, Dessauvage has developed a high
individual language of form which is now recognised and appre-
ciated everywhere. In 1992, he won the 'Inax Design' Prize
(Japan). In 1993, he was awarded the 'Premio Faenza' (Italy), in
1994 he was the laureate at the 'Spiez Biennial' (Switzerland)
and in 1995 he received the Nyon Prize from the city of Nyon
(Switzerland) during the 'Biennial de la porcelaine'. His work
is on display in Belgium, Germany and Switzerland and in museums
at home and abroad22.
Inge Vranken
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1 We have the following people in mind: Georges Blom
(°1947), Denise Cromheecke (°1949), Della (°1953) & Sleppe
(°1953), Ludo Thys (°1951), Patrick Van Hoeydonck (1959-1984),
André Zaman (°1953), Frank Steyaert (°1953), Rik Vandewege
(°1951).
2 See 'Piet Stockmans' in the catalogue section of this
edition.
3 When the factory celebrated its 100th anniversary, its
name was changed to 'Koninklijke Mosa B.V.'
4 Since 1995, called the Media- en Designacademie (MEDEA,
Media and Design Academy) and part of the Catholic Col-
lege, Limburg.
5 The wholesalers became indeed Mosa's most important target
group from the late sixties on.
6 J. VALCKE, Gesprek met Piet Stockmans (Conversation with
Piet Stockmans - 9th of June 1982, in Belgisch Kreatief
Ambacht (Belgian Creative Craft), 18th year of publica-
tion, n° 4, 1982, p. 14.
7 Vincent Mc Grath (Australia), Steven Heinemann and Diane
Nasr (Canada), Alison Britton and Jacqui Poncelet (Great-
Britain), Akiko Fujita (Japan), Thom Bohnert and Michael
Lucero (United States).
8 D. SMEETS, "Dragon stone" en andere keramische stenen
("Dragon stone" and Other Ceramic Stones), in Belgisch
Kreatief Ambacht (Belgian Creative Craft), 21st year of
publication, n° 6, 1985, p. 24-28.
9 J. VALCKE, Gesprek met Piet Stockmans (Conversation with
Piet Stockmans - 9th of June 1982, in Belgisch Kreatief
Ambacht (Belgian Creative Craft), 18th year of publica-
tion, n° 4, 1982, p. 14.
10 Conversation with Piet Stockmans on the 12th of September
1995.
11 E. LANGENDIJK, Tussen unica en een miljoen: vrij en
industrieel werk van Johan van Loon, Piet Stockmans en Jan
van der Vaart (From a unique piece to one million: free
and industrial work by Johan van Loon, Piet Stockmans and
Jan van der Vaart), in Ceramics, October 1993, p. 10.
12 J. FONTIER, Keramiek in Vlaanderen (Ceramics in Flanders),
p. 54.
13 J. VALCKE, Wie is Tsjok Dessauvage? (Who is Tsjok Dessau-
vage?) in Belgisch Creatief Ambacht (Belgian Creative
Craft), 19th year of publication, n°4, 1983, p. 13.
14J. VALCKE, Op. cit., p. 11.
15 J. VALCKE, Op. cit., p. 11.
16 J. VALCKE, Op. cit., p. 11.
17 The clay is leather-hard when it has dried to such an
extent that it no longer shrinks, yet still has a dark
colour.
18 Shrink firing is a baking process in which the air supply
is decreased when firing at high temperatures. This
usually gives the work a grey or black colour.
19 Apart from Tjok Dessauvage, the following artists par-
ticipated in the "Europese raku" (European Raku) exhibi-
tion (6th of May - 30th of june 1984): Ellen Barendse,
Jackie Bouw, Annelies Buchardt, Rudie Delanghe, Antoine &
Alice De Vinck, Yvonne Kleinveld, Puck Muller, Hugo
Rabaey, Nick & Nicoline Schoorl, Frank Steyaert, José
Vermeersch, Edo Versteegh, Camille Virot.
20 For the other exhibitions: see 'Tjok Dessauvage' in the
catalogue section of this edition.
21 The structure of the clay becomes porous because Des-
sauvage mixes it with coffee grind which is then burnt
away during the baking process.
22 See 'Tjok Dessauvage' in the catalogue section of this
edition.
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