About Susanne Worschech

  • 1960 born in Erfurt, Germany
  • 1979- 83 Institut für Kunst, PH Erfurt
  • 1986- 90 Further courses - Ceramics / Sculpture at Institut für Kunst, Erfurt
  • 1990- 92 Head of Ceramics / Sculpture Department at Erfurt Malschule
  • 1992- 94 Head of Ceramics / Sculpture Department at Fachoberschule für Gestaltung, Erfurt
  • since 1994 free-lance with own studio "studio keramos"
  • Member of the American artists association: ARTISTS UNLIMITED Naples Arts Association, Florida Kunstwestthueringer, Germany
  • 2014-2016 Colegio Aleman Barcelona Professora de Arte
  • 2016 Lehrauftrag Keramik/Plastik an der Musik-und Kunstschule Jena
  • 2017 Atelier in der Kulturfabrik Apolda
  • since 2003 member of Verband Bildender Künstler Thüringen e.V. and of BBK Deutschland e.V.



The ceramic works of Susanne Worschechs

You could almost say that Studio Keramos itself has grown up to become a proper workshop. Its inhabitants are reflected in every room. It may sound strange when one says of a mother of two children that she has grown up. Susanne Worschech grew up some time ago but her path to artistic independence was long, not least because of many years of teaching. After her course at the PH Erfurt (teacher training college), she did the rounds of Erfurt's various training establishments. First teaching at the Sophien School, then as an assistant at the PH Erfurt, followed by working at the Malschule (School of Art) and the Fachoberschule für Gestaltung (College of Design) she finally arrived at self-employment. However she never tires of saying that all this would never have been possible without the generous support of her husband. In any case her years of apprenticeship and travel have come to an end for now. There are the first masterpieces, which want to be viewed on their own, and here have the necessary space. No, don't worry, the children will continue to be creative in the new studio, and they only have to go a few steps to work in the open. However, in her dealing with the work of others, in her constant striving to create space for the impulses of her students, Susanne has developed so much of her own that now the time has come to give space to her works too. In the meantime her works have distanced themselves from utility. Her ceramic bowls, plates and cups have a strong aesthetic value of their own which puts their usefulness into the background. One is often reminded of Japanese ceramics which are a reflection of earthly harmony and whose outer forms start speaking for themselves. The pictures or reliefs are new, they have freed themselves of any claims on design. Also here, yes, especially here, the Japanese aesthetic shines through: only the unsymmetrical, the rough, the irritating, is completely harmonious; something that shows traces of use or apparent defects. That is why the idea of square pictures (a form that Susanne Worschech favours, not the circle which is generally recognised to be perfect but the square which shows edges and corners) makes sense in a complete series. Here at last it becomes clear that what appears as damage, crazing and cracks, mis-colouring and blisters or foreign bodies in the clay are all intentional, though not planned and directed in excessive detail. When dealing with clay Susanne allows a didactic principle to rule: the creation of conditions that favour the development of certain characteristics. She provokes but she does not force. Nature should show itself even at the highest level of design - the square, the aluminium frame, the structured background, all restrain the attempts to escape. That, which would seem chaotic or senseless on its own, becomes clear in the series. Susanne quotes forms which already exist, hints at dissolution, finds new forms of control. The play of the series of pictures which is continuously oscillating between strict geometric order and capricious outbreaks reveals a new way of seeing to the observer. After a few consecutive pictures the proximity of the neighbouring works is no longer important. Every single picture tells its own story of the struggle between chaos and form.... This seems to be a principle, too. Design, drawing, drafting, shaping mean creating order in a world whose creative principle is chaos, which we humans can only counter with works which create order. German history has taught us many times over where absolute order leads. Luciano de Crescenzo's motto: "I love order in order to destroy it..." could be seconded by Susanne without hesitation.

Dr. Julia Draganovic DIGIT (German-Italian Society in Thuringia) on the occasion of the private view on 09.10.1996




Publications


BlackCatalogue
13 photographies
german, english und italian text
21 x 21 cm
black waveboard cover
32 pages

Catalogue of the "Talking Timbuktu" exhibition
Objekts und Photography by Susanne and Claus D. Worschech
German and French Texts
18,5 x 18,5 cm
32 pages
1. Edition 2001

Klicken Sie für ein großes Foto!

Cordula Hamann:
"Kunst im Garten"
160 pages
Ulmer Verlag
ISBN 3-8001-3658-9




Purchases

  • Thüringer Landesvertretung Berlin: Thüringen-Wandbild (Gesamtansicht, Bildhängung und Detailfoto)
  • Landesentwicklungsgesellschaft Thüringen, Geschäftsführung Erfurt:The Inner Forces
  • Thüringer Kultusministerium
  • Nationalbank Essen
  • TAB Thüringer Aufbaubank Vorstand
  • Stadtwerke Erfurt, Geschäftsführung, "Elemente" 2006
  • Thüringer Ministerium für Kunst und Wissenschaft, "Dreambay", Raku, 2006
  • Thüringer Landesvertretung in Berlin: Ministerin Chr. Lieberknecht
  • Arbeitsamt Erfurt: "The Inner Forces", Großer Konferenzsaal
  • Vorstand Deutsche Telekom Erfurt
  • Vertriebsleitung Sony, München
  • Vorstand der EVAG, Erfurt
  • Geschäftsführung Fa. Dickenbrock, Erfurt
  • Immobiliengesellschaft Hemmerich & Bäsler, Erfurt / Darmstadt
  • Naturheilpraxis Mahassen Keiner, Erfurt
  • "Il Cortile", Italienisches Spezialitätenrestaurant, Erfurt, Johannesstraße
  • TEAG Geschäftsleitung Elemente (Feuer,Erde,Luft)



Links