Artists Online Showroom

Kim Habers킴 하버스

    Netherlands, 네덜란드
    2007 Sandberg Institute, Amsterdam, Master Fine Art, 2009
    2003 ArtEZ Academie, Zwolle, Bachelor Fine Art, 2007
    2018 The Line Up, Central Museum, Utrecht, The Netherlands
    2018 ArtRotterdam (solo), Langart, Rotterdam, The Netherlands
    2017 Paper Art, Coda Museum, Apeldoorn, The Netherlands
    2017 How To Dissapear Completely, Garage, Rotterdam, The Netherlands
    2017 Amsterdam Art Fair (solo), Langart, Amsterdam, The Netherlands
    2016 Into Nature, Museum de Buitenplaats, Eelde, The Netherlands
    2015 Sinai, Vitrinen, Cologne, Germany
    2014 Aan De Rand Van Het Plateau, Jan van Eyck Academy, Maastricht, The Netherlands
    2010 De Betekende Wereld, Museum van Bommel van Dam, Venlo, The Netherlands
    2008 Vision in Motion Motion in Vision, Verbeke Foundation, Kemzeke, Belgium
    2018 Winner Gerrit van Houten Atelier Prize, Gerrit van Houten Atelier Prize, Dooyewaard Foundation, Blaricum, The Netherlands
    2008 Winner Stimulation Award Fine Art, Aanzet!, Kunstvereiniging Diepenheim, Diepenheim, The Netherlands
    2016 Museum de Buitenplaats, Eelde, The Netherlands
    2016 Isala Klinieken, Zwolle, The Netherlands
    2015 Wageningen University, Wageningen, The Netherlands
    2008 Saxion University, Enschede, The Netherlands
    2018 DordtYart 2018, DordtYart Foundation, Dordrecht, The Netherlands
    2017 Sundaymorning@EKWC, European Ceramic Workcentre, Oisterwijk, The Netherlands
    2016 Werkplaats Diepenheim, Mondriaan Fonds, Diepenheim, The Netherlands
    2015 Sundaymorning@EKWC, European Ceramic Workcentre, Oisterwijk, The Netherlands
    2009 smax, Schloss Ringenberg, Hamminkeln, Germany

시각예술가인 나의 작품은 언제나 스케치로부터 시작된다. 두 곳의 레지던시 프로그램에 참여하여 작업하면서 포슬린 스케치를 만들 수 있게 되었다. 레지던시 기간 중 ‘케라플렉스’라는 새로운 도자기 재료를 사용하여 실험을 했다. 이 마른 포슬린 페이퍼는 손 또는 절단기를 사용하여 자를 수 있기 때문에 3D 프린터를 사용하지 않고도, 또한 노련한 도예가의 손재주가 없이도 면과 선으로 구성된 스케치를 입체적 도자기 오브제로 변형시키는 것이 가능하다.

As a visual artist who always starts working from the drawing itself we have been able to produce porcelain drawings over the course of two residencies. Throughout these work periods I have been experimenting with a new ceramic material called Keraflex. This dry porcelain paper can be cut by hand and cutting machines and therefore makes it possible to transform my line drawings into three dimensional ceramic objects without making use of 3D printing techniques and keeping an eye on the handmade feeling and craftsmanship of the ceramic world.