He was someone one met less at trade fairs and private viewings than in book shops. What does this tell us about Klaus Lehmann, who was long considered a “ceramist”? That his inter-ests were both wider and deeper than just supplying bowls and vases with aes-thetically pleasing forms and décor. Widely read in literature and philosophy, he was concerned with noth-ing less than the fundamental conditions and acts both of the material and of humankind …
There is the object and it leaves a mark, an indentation.
A reduction to distinct shapes, minimal colour schemes and unspectacular materials allows for a differentiated, detailed tracking.
The flames touch the vessels, the wood ash flies through the kiln, sticks on the clay and melts slowly to a glaze.
Made from the memories and images that appear over the years.
Painting, poetry and performance meet and penetrate each other.
Ceramics seems clear, relevant, being at the same time in the periphery and in the contemporary; determined to be a thing in a time when most information is mediated, incredulous and unreliable.