The Danish ceramist Bodil Manz is a pioneer and an icon. Working in her workshop in HØrve on the same island as Copenhagen, the artist has patiently developed a unique mastery in the molding of porcelain containers of exceptional finesse. Playing with a translucency approaching transparency, its cylinders decorated with decals of elaborate designs and colored fields, placed on the outside as well as on the inside, offer spectators a reading where the two sides of the wall. Her vocabulary is deliberately erudite, informed and restricted. Her obvious references are Piet Mondrian and Georges Vantongerloo, archpriests of rigorous visual minimalism and of course the Suprematists and their chief theoretician, Kazimir Malevitch. In the register which is ers, difficult to do better! For more than thirty years her work has been universally recognized for the virtuosity of his execution and the balance of her graphic compositions. The result is that there is hardly a decorative arts museum in the world that does not have several of her works in its collections.
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