Winner of the Grand
Prix Award for the 1st World Ceramic Biennale 2001 Korea
Grand Prix Award for the 1st World Ceramic Biennale 2001 Korea goes
to... Lawson Oyekan for "Healing Being"
The 1st World Ceramic Biennale 2001 Korea was hosted by the 'World
Ceramic Exposition 2001 Korea Organizing Committee', is sponsored
by the Kyonggi Provincial Government of the Republic of (South)
Korea and is patronized by the International
Academy of Ceramic Arts (IAC), the National
Council on Education for the Ceramic Arts (NCECA) and the
American Ceramic Society
(ACerS). Arecord 4, 206 entries from 69 countries were received
for the Preliminary Slide Selection, from which 305 works from 42
countries were selected by the five international jurors.
Grand Prix Award for the the event went to Mr. Lawson Oyekan of
Nigeria for his piece "Healing Being", from the category
'Ceramics as Expression; Non-function oriented'.
The Gold Awards in the category of "Ceramics for Use; Function
oriented" went to Lee, Yong-Phil (Korea) and for "Ceramics
as Expression; Non-function oriented" to Ken Eastman (UK),
the Silver Awards in the category of "Ceramics for Use"
went to Kim, Sang-Ki (Korea), Masatoshi Sakaegi (Japan) and for
"Ceramic as Expression" to Philipe Barde (Switzerland),
Torbjörn Kvasbö (Norway), and finally, the Bronze Awards
in the category of "Ceramics for Use" went to Karin Bablok
(Germany), Francoise Ruegg (Switzerland), Hwang, Kap-Soon, Sohn,
Ho-gyu (Korea) and for "Ceramics as Expression" the prizes
went to Kim, Hyun-Sook (Korea), Masamichi Yoshikawa, Jun Nishida
(Japan) and Yuh, Sun-Koo (US).
Oyekan, Grand Prix winner, believes that "an endless question
and understanding will heal our wounds of experience like a streak
of light in the dark" and that his ultimate objective was to
accomplish such a process through his work. His work is an impressive
hand-molded, terracotta structure measuring, 68cm in length and
width and 201cm in height, weighing 110kg. Enlargement.
It was the jurors opinion that "it's a piece that energizes
viewers spouting enormous strength like a volcano" and that
"it reminds them of the nature, climate and buildings of Africa
while simultaneously casting a mystery of weather if it was formed
naturally or if was it created by a human or an animal. Although
it seems to have been made through simple techniques, the delicacy
seen in the surface is a sharp contrast to its large shape emitting
a sense of intimacy, and a simplicity that seems to say that anyone
can make such work. At the same time, it gives space a strong sense
of "existence". This monumental, multidimensional piece
of extraordinary quality will stimulate viewers.
Interestingly, the majority of works for the category "Ceramic
for Use; Function oriented" came from Asia while the majority
of works for the category "Ceramic as Expression; Non-function
oriented" from the West. This would seem to throw some light
on the different developments in pottery and ceramic art in the
Orient, where tradition seems to play a greater role, and the Occident,
where emphasis is might be on experimentation. The statisics could
also be an indication that the West has more leisure for artistic
expression while in the East, ceramics are a greater matter of survival.
This is not to judge either one or the other direction, but the
assessment does throw open many questions as to the nature of ceramics
in different parts of the world.