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HELGA RITSCH

Born in Switzerland. Lives and works in Zurich and Soazza/GR.

CONTACT
Feel free to contact me for studio visit, puchases and exhibition requests via ritsch@helga-ritsch.com

EXHIBITIONS 2022
SEOUL/Korea June 1-Aug 31
SOAZZA/CH July 15-Sept 1

REPRESENTED
Gallery Essence Kyoto
KYOTO/Japan
Gallery Palü
PONTRESINA/Switzerland

June/July 2022: Zurich. Showroom. Black stoneware bowls. Acrylic on canvas painting..
June/July 2022: Zurich. Showroom. Black stoneware bowls. Acrylic on canvas painting..
March 2022: Soazza/GR. Studio house. Black porcelain. All pieces hand thrown. One of a kind.
March 2022: Soazza/GR. Studio house. Black porcelain. All pieces hand thrown. One of a kind.
Kyoto, Japan: Gallery Essence Kyoto. October 2021.
Kyoto, Japan: Gallery Essence Kyoto. October 2021.
June/July 2022: Zurich. Showroom. Black porcelain bowl.  Acrylic on canvas painting.
June/July 2022: Zurich. Showroom. Black porcelain bowl. Acrylic on canvas painting.
SEOUL, Korea. Lee Eugean Gallery, October 2019.
SEOUL, Korea. Lee Eugean Gallery, October 2019.
SEOUL, Korea. Lee Eugean Gallery, October 2019.
SEOUL, Korea. Lee Eugean Gallery, October 2019.
March 2022: Soazza/GR. Studio house. Black porcelain. All pieces hand thrown. One of a kind.
March 2022: Soazza/GR. Studio house. Black porcelain. All pieces hand thrown. One of a kind.
Tokyo Japan. at gallery HetLaboatrium. March 2019.
Tokyo Japan. at gallery HetLaboatrium. March 2019.
June/July 2022: Zurich. Showroom. Workgroup: Three black porcelain bowls.
June/July 2022: Zurich. Showroom. Workgroup: Three black porcelain bowls.
June/July 2022: Zurich. Showroom. White stoneware vessels.  Acrylic on canvas painting.
June/July 2022: Zurich. Showroom. White stoneware vessels. Acrylic on canvas painting.
Kyoto, Japan: Gallery Essence Kyoto. October 2021.
Kyoto, Japan: Gallery Essence Kyoto. October 2021.
London. Great Britain. at gallery blue mountainschool. 2018.
London. Great Britain. at gallery blue mountainschool. 2018.
SEOUL, Korea. Lee Eugean Gallery, October 2019.
SEOUL, Korea. Lee Eugean Gallery, October 2019.
Zurich. Gallery Palü. March/April 2020.
Zurich. Gallery Palü. March/April 2020.
Summer 2020. Soazza/GR. HOPE: the summer will definitely come back. stoneware vessels on a rusty pedestal. Workgroup from my series ‘HOPE-HOPELESS’.
Summer 2020. Soazza/GR. HOPE: the summer will definitely come back. stoneware vessels on a rusty pedestal. Workgroup from my series 'HOPE-HOPELESS'.
Gallery palü, Pontresina: 2020.
Gallery palü, Pontresina: 2020.
London, GB at Gallery Bluemountainschool. 2018.
London, GB at Gallery Bluemountainschool. 2018.
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.
Venice, Italy: September 2021.
Venice, Italy: September 2021.
GENEVA, Switzerland. Gallery Ormond Editions. Nov 7, 2019
GENEVA, Switzerland. Gallery Ormond Editions. Nov 7, 2019
Studio house. 6562 Soazza/GR. Visits by appointment.
Studio house. 6562 Soazza/GR. Visits by appointment.
Soazza/GR. Studio house. 2022.
Soazza/GR. Studio house. 2022.
Zurich. Showroom. 2022.
Zurich. Showroom. 2022.
Zurich. Showroom. 2022.
Zurich. Showroom. 2022.
Soazza/GR. Studio house. 2022.
Soazza/GR. Studio house. 2022.
Zurich. Showroom. 2021.
Zurich. Showroom. 2021.
Soazza/GR. Studio house. 2021.
Soazza/GR. Studio house. 2021.
2021. Composition of twelve bowls. porcelain. For Gabriel S., Art collector. Germany.
2021. Composition of twelve bowls. porcelain. For Gabriel S., Art collector. Germany.
Soazza/GR. Studio scene. 2022.
Soazza/GR. Studio scene. 2022.
Zurich. Showroom. January 2022
Zurich. Showroom. January 2022
Zurich. Showroom. 2021
Zurich. Showroom. 2021
Soazza/GR. Studio house. 2021.
Soazza/GR. Studio house. 2021.
Zürich. Showroom. 2020
Zürich. Showroom. 2020
Soazza/GR. Studio house. 2020.
Soazza/GR. Studio house. 2020.
Zürich. Showroom. 2020.
Zürich. Showroom. 2020.
Soazza/GR. Studio house. 2020.
Soazza/GR. Studio house. 2020.

CVBorn in Switzerland. Studios in Zurich and Soazza/GR.

2001-2006: Trained as a ceramist with Mathies Schwarze
1989-1995: University of Zurich: Art History/German Philology/Philosophy (MA)
1987-1989: ETH Zurich: Architecture Department (BA)

Working as an independent artist since 1998
Member of the Swiss Ceramics Association ‘swissceramics’

WORKI 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.


THREAD – Many people ask about the meaning of the thread that I have been using for more than fifteen years. Dr. 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

 

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