CV – Born in Switzerland. Lives and works in Soazza/CH and in Zurich/CH. Working as an independent artist since 1996.

Education:
2001-2006: Trained as a ceramist with Mathies Schwarze
1989-1995: University of Zurich: Phil I – German Philology/Art History/Philosophy
1986-1988: ETH Zurich: Architecture department

Member of the Swiss-Japanese Society
Member of the Swiss Ceramics Association ‘swissceramics’
Member of the Robert Walser-Society 

EXHIBITIONS (selection since 2017) 

Solo
2021 Kyoto, Japan: Gallery Essence Kyoto. Invited by and with Iron Artist Motomu Oyama. Read Interview
2020 Soazza/GR, Switzerland: Covid-19 drama.
2019 Tokyo, Japan: Gallery ‘hetLaboatrium, . ‘Circle’
2018 Singapore: Brewin Design Office

Group
2023 Pontresina, Switzerland: Galerie Palü.
2023 St. Moritz, Switzerland: SMM
2022 Pontresina, Switzerland: Galerie Palü.
2022 Seoul, Korea: University of Fine Arts
2021 Zurich, Switzerland: Gallery Palü. Guest.
2019 Seoul, Korea: Gallery Lee Eugean, ‘Affaire de coeur 5’.
2019 Milan, Italy: Palazzo Bovara,
2019 Geneva, Switzerland: Gallery Ormond Edition,
2018 London, Greatbritain:  HOSTEM, bluemountainschool . 
2018 Hongkong, China: U11. swiss design. 
2014 Zurich, Switzerland: Museum Rietberg

TABLEWARE DESIGNS

– 2016 Edition ‘blackbeauty’. Hand thrown plates, cups and bowls from black porcelain. Unglazed. Rims on the outside. With the black thread.
– 2012 Edition ‘snow’. Hand thrown plates, cups and bowls from white porcelain. Unglazed outside. Transparend glazed inside. With the red thread.
– 2005 Edition ‘pur.’ Hand thrown plates, cups and bowls from stoneware. Glazed in different delicate craquele glazes.

No orders.

PRESS  (selection only)

2023: Photostory in the gallery magazine ^palü’

2021: Photostory in the print only magazine ‘The Influencer’

2019: Video by Fredrik Haren ‘Wondering in search of energy’

2017:  Ceramics Southern Africa, 09/2017 by Dr. Ronnie Watt

ABOUT THE WORK
from the exhibition ‘nato a 600metri di altezza’, Gallery Palü 2023
by Samira C. Ritsch, Art historian

In April 1336, the poet and scholar Petrarca climbed Mont Ventoux in Provence together with his brother. He combined this first dated, culturally and historically relevant, alpine excursion with reflections on his inner life and the significance of art. The attraction of the mountains remains undiminished to this day.

The vessels by Helga Ritsch currently presented in the Gallery Palü were also created in a mountain environment. The artist has been working for over 20 years in the Misox, a valley in the south of the Grisons.
The immense scale and simultaneous tranquility of the mountain landscape allow a wide and free process of creation. The artist basically describes working and designing in the mountains as more independent and less purpose-bound than, for example, in an urban environment.

The actual design is accompanied by a thought process, a sketch in the head. During the subsequent work on the potter’s wheel, the vessel is shaped and then deliberately differentiated by consciously placed details. The subsequent coloring, if any, is neither particularly colorful nor decorative. The glaze proceeds from the form, not the color, always taking into account the formal influence it has on perception.

The resulting clear and simple works in porcelain or stoneware have an architectural character, are space-creating, and their exterior and interior forms engage in an ongoing dialogue. Helga Ritsch’s academic background in architecture and art history explains her thinking and working with surfaces and forms.

The artist sees the immediate environment as a metaphorical stage for her work. Although the vessels stand on their own, the not conclusively defined idea of the stage helps shape and guide perception – an exchange that has always interested Helga Ritsch and is often reflected in her designs.

The thread, that has been used for more than 20 years and is another leitmotif in her work, was 2017 aptly paraphrased by Art historian Dr. Ronnie Watt: “A powerful, though fragile decorative element, the thread is a visual and intellectual accent for a work, but at the same time integral to that form because it is anchored in it.”
However, it is in no way intended to become a design constraint; rather, it is consciously placed anew each time and is accompanied by an intellectual engagement with each vessel. The object character of the thread thereby questions the functionality, perhaps irritates and at the same time changes the perceived dimensionality.

In principle, Helga Ritsch does not define the function of her vessels. For her, this question remains intellectually unanswered and is never dictated by her. Her works are thought-provoking and border-crossers that reinterpret the ceramic craft.

Many of the artist’s vessels are created in the narrow Grisons mountain valley, but for exhibitions they move to the wider world to Tokyo, Seoul, Hong Kong, New York, London, Milan or Venice – and now also for the first time to the nearby Gallery Palü.
Grisons is big: The ceramic vessels from the Misox by Helga Ritsch are exhibited together with the paintings from the Engadine by Lukas R. Vogel in the same room – this makes the artist particularly happy!

Samira C. Ritsch, Art historian BA UZH. 2022. Gallery magazine palü.

MORE WORDS:

本展ではHelga Ritschにとって象徴的ともいえるCircleがテーマとなっています。静謐で清潔なHelgaの作品世界は、日本文化の心象風景にも繋がっているかのようです。「縁」を思わせるテーマに、不思議な絆を感じます。彼女が好んで用いる赤い糸も「縁」と繋がり、そして、それは彼女の住む国では、運命を導くシンボルといいます。ヘットラボアトリエムならではのHelgaのプレゼンテーションは彼女にとって日本で初めての個展となります。
Hatsuko Kobayashi. Galerist, Tokio. 2018

Helga Ritsch, Soazza (Misox), forms ceramics that transcend the minimalist and modern, revealing a vital energy that awakens the viewer’s soul and weaves the mystery of existence. Each piece, through its simple beauty, becomes an enigmatic narrative, rich in emotion and finely woven meanings, inviting the deepest reflection.

F. Sciuchetti. Galerist, Pontresina. 2023