Home

HELGA RITSCH

Born in Switzerland. Independent artist since 1998. Lives and works in Zurich and Soazza/GR.

ZURICH
Gemeindestrasse 4
8032 Zurich
Friday 3-6 h
Saturday 12-2

CLOSED:
Mai 19 – June 12

SOAZZA/GR
Stradòn 26
6562 Soazza/GR
by appointment

soazza summerstudio video

EXHIBITIONS 2022
SEOUL/Korea
June 1-Aug 31
SOAZZA/CH July 15-Sept 1
GENEVA/CH October 8-29
ZURICH/CH: Nov 18-Feb 25

REPRESENTED IN
KYOTO/Japan
Gallery Essence Kyoto
PONTRESINA/Switzerland
Gallery Palü
TOKIO/Japan
Gallery hetlaboatrium

March 2022: Tea set ‘spring night2’ from black porcelain. All pieces hand thrown. One of a kind.
March 2022: Tea set 'spring night2' from black porcelain. All pieces hand thrown. One of a kind.
March 2022: Tea set ‘spring night1’ from black porcelain. All pieces hand thrown. One of a kind.
March 2022: Tea set 'spring night1' from black porcelain. All pieces hand thrown. One of a kind.
My gallery in Zurich: Gemeindestrasse 4, 8032 Zurich. Open Fridays 15-20 h and Saturdays 12-14 h and by appointment.
My gallery in Zurich: Gemeindestrasse 4, 8032 Zurich. Open Fridays 15-20 h and Saturdays 12-14 h and by appointment.
Zurich. Gallery scene. 2022.
Zurich. Gallery scene. 2022.
My studio, gallery & teahouse. Stradon 26. 6562 Soazza/GR. Open by appointment.
My studio, gallery & teahouse. Stradon 26. 6562 Soazza/GR. Open by appointment.
Soazza/GR. studio scene. 2022.
Soazza/GR. studio scene. 2022.
Kyoto, Japan: Exhibition at Gallery Essence Kyoto. October 2021.
Kyoto, Japan: Exhibition at Gallery Essence Kyoto. October 2021.
Kyoto, Japan: Exhibition at Gallery Essence Kyoto. October 2021.
Kyoto, Japan: Exhibition at Gallery Essence Kyoto. October 2021.
Venice, Italy: September 2021.
Venice, Italy: September 2021.
Zurich at gallery Palü. 2020. Pontresina.
Zurich at gallery Palü. 2020. Pontresina.
Zurich at gallery palü, Pontresina: March/April. 2020.
Zurich at gallery palü, Pontresina: March/April. 2020.
SEOUL, Korea at Lee Eugean Gallery, October 2-26 2019.
SEOUL, Korea at Lee Eugean Gallery, October 2-26 2019.
SEOUL, Korea at Lee Eugean Gallery, October 2-26 2019.
SEOUL, Korea at Lee Eugean Gallery, October 2-26 2019.
SEOUL, Korea at Lee Eugean Gallery, October 2-26 2019.
SEOUL, Korea at Lee Eugean Gallery, October 2-26 2019.
Tokio. Japan. at gallery hetLaboatrium. 2019.
Tokio. Japan. at gallery hetLaboatrium. 2019.
Tokyo Japan, at gallery hetLaboatrium. March 2019.
Tokyo Japan, at gallery hetLaboatrium. March 2019.
Tokyo Japan. at gallery HetLaboatrium. March 2019.
Tokyo Japan. at gallery HetLaboatrium. March 2019.
London. Great Britain. at gallery blue mountainschool. 2018.
London. Great Britain. at gallery blue mountainschool. 2018.
London, GB at Gallery Bluemountainschool. 2018.
London, GB at Gallery Bluemountainschool. 2018.
GENEVA, Switzerland. Gallery Ormond Editions. Nov 7, 2019
GENEVA, Switzerland. Gallery Ormond Editions. Nov 7, 2019
Zurich. Gallery scene. 2022.
Zurich. Gallery scene. 2022.
Soazza/GR. Studio scene. 2022.
Soazza/GR. Studio scene. 2022.
Zurich. Gallery scene. 2021.
Zurich. Gallery scene. 2021.
Soazza/GR. studio scene. 2021.
Soazza/GR. studio scene. 2021.
Zurich. Gallery scene. 2021. Composition of twelve bowls. porcelain. For Gabriel S., Art collector. Germany.
Zurich. Gallery scene. 2021. Composition of twelve bowls. porcelain. For Gabriel S., Art collector. Germany.
Soazza/GR. Studio scene. 2022.
Soazza/GR. Studio scene. 2022.
Zurich. Gallery scene. January 2022
Zurich. Gallery scene. January 2022
Zurich CH. Gallery scene.2021.
Zurich CH. Gallery scene.2021.
Soazza/GR. Studio scene. 2021.
Soazza/GR. Studio scene. 2021.
Zürich. Gallery scene. 2020
Zürich. Gallery scene. 2020
Soazza/GR. Studio scene. 2020.
Soazza/GR. Studio scene. 2020.
Zürich. Gallery scene. 2020.
Zürich. Gallery scene. 2020.
Soazza/GR. Studio scene. 2020.
Soazza/GR. Studio scene. 2020.

WORK – I work mainly with porcelain and stoneware and make hand thrown vessels for rooms and spaces. They should create a delicate atmosphere, an unsophisticated mood – an illusion: I try to give my surroundings a touch of beauty. Even if it is only for a tiny moment.

I found clay many decades ago – when I was 17 years old I made my first tea pot, my teacher at the time, Ms Liu, showed me how – and I still shapes it into vessels: This distracts me and helps to bear many things better.

Whether as an individual piece or as a group of works – I try to find shapes, details and surfaces that irritate, awake your imagination, sometimes enchant, also make you think and burn into your memory.

For this to hopefully succeed, I need most of my energy and time: I work slowly, destroy a lot, start all over again. Take breaks. Fractions belong to my path, as do the unexpected and the unconventional.

Anyone who can endure this is right with me.

WAY – Born in Switzerland. Independent artist since 1998. Lives and works in Zurich and Soazza/GR.

2001-2006: Apprenticeship for ceramist
1989-1995: University of Zurich: Art History/German Philology/Philosophy 
1987-1989: ETH Zurich: Architecture Department

Member of the Swiss Ceramics Association ‘swissceramics’


THREAD – Many people ask about the meaning of the thread that I have been using for more than fifteen years. Ronnie Watt, art historian, Canada, wrote in 2017 (s. press): .

..‘A signature decorative element which she regularly applies is a length of cotton thread which is looped through a fine hole and over the rim. The red thread is a reference to the German expression ‘der rote Faden des Erzählens’ which can be translated as ‘following your destiny’. With this leitmotiv, explains Ritsch, she ‘brings things together’ and that ‘my works are different, but the red thread holds them together’. At the same time it ‘stitches’ her works to her personal life experiences and philosophy. As a powerful albeit fragile decorative element, the thread is a visual and intellectual accent for a work but is simultaneously integral to that form because it is anchored in it.

And in my words:

Irgendwie möchte ich meine Arbeiten zusammenhalten, daran erinnern, woher sie stammen, wer sie gemacht hat – sie sind ja weltweit verstreut, der Faden hält sie symbolisch zusammen, denke ich zumindest….. Das textile Element gibt meinen Werken auch etwas Unerwartetes, vielleicht Irritierendes und das gefällt mir. Nicht zuletzt kann mit dem Faden der Arbeit eine Richtung im Raum gegeben werden: Das Stück wirkt jedes Mal leicht anders, je nachdem wohin der Faden zeigt. Mit dem Faden ist es mir auch möglich, ganz am Ende des Prozesses, also nach dem letzten Brand, mein Werk endlich fertig in die Hand zu nehmen und eine letzte Geste zu platzieren, es für meine Begriffe vollendet zu machen – und dann zu entlassen.Und jetzt – nach mehr als fünfzehn Jahren – ist er wohl zu einer Art Markenzeichen geworden.  helga ritsch, zurich, 2018

 

  Subscribe To Newsletter
SUBSCRIBE TO NEWSLETTER

Dear visitor. Please feel free to subscribe to our newletters and be informed about latest news, events and updates.

* we hate spam and never share your details.
×