Home

HELGA RITSCH

ZURICH
Studio&Showroom1
Minervastrasse 9
8032 Zurich
by appointment only

Office&Showroom2
Gemeindestrasse 4
8032 Zurich
by appointment only

SOAZZA/GR
Studio, Gallery&Teahouse

Stradòn 26
6562 Soazza/GR
by appointment only

soazza summerstudio video

REPRESENTED BY
KYOTO/Japan
Gallery Essence Kyoto

LONDON/GB
Bluemountainschool

PONTRESINA/CH
Gallery Palü

TOKIO/JP
Gallery hetlaboatrium

Two person exhibition with my dear friend Motomu Oyama: Kyoto/Japan at the Gallery Essence Kyoto, oct 9-17
Two person exhibition with my dear friend Motomu Oyama: Kyoto/Japan at the Gallery Essence Kyoto, oct 9-17
exclusive private view in venice, dorsoduro: sept 16-30. by appointment only: please send an email.
exclusive private view in venice, dorsoduro: sept 16-30. by appointment only: please send an email.
Vessel for my exhibition in Kyoto, JP (Oct 2021) together with my friend and japanese iron artist Motomu Oyama. Bowl from white porcelain. hand thrown. with the red thread. studio zurich. august 2021.
Vessel for my exhibition in Kyoto, JP (Oct 2021) together with my friend and japanese iron artist Motomu Oyama. Bowl from white porcelain. hand thrown. with the red thread. studio zurich. august 2021.
48 vessels for Lin W. and her japanese fine dining restaurant in Zurich (1 Michelin Star, 17 Gault Millau) – of my tableware collection ‘blackbeauty’. Bowls, cups and plates, all hand thrown from black porcelain. With the black thread. July 2021
48 vessels for Lin W. and her japanese fine dining restaurant in Zurich (1 Michelin Star, 17 Gault Millau) - of my tableware collection 'blackbeauty'. Bowls, cups and plates, all hand thrown from black porcelain. With the black thread. July 2021
40 pieces for Sebastian R., Zurich (1 michelin star, 17 gault millau) – of my tableware collection ‘blackbeauty’. Bowls and cups, all handthrown from black porcelain. With the black thread. May 2021.
40 pieces for Sebastian R., Zurich (1 michelin star, 17 gault millau) - of my tableware collection 'blackbeauty'. Bowls and cups, all handthrown from black porcelain. With the black thread. May 2021.
Composition of twelve bowls. porcelain. with the red thread. For Gabriel S., art collector. Germany. April 2021.
Composition of twelve bowls. porcelain. with the red thread. For Gabriel S., art collector. Germany. April 2021.
Galerie palü, Pontresina: HOPE2: ‘never forget to follow your red thread – even in unusual times’. March/April. 2020. vessels on an old wooden bench board. booklet with pictures and text.
Galerie palü, Pontresina: HOPE2: 'never forget to follow your red thread - even in unusual times'. March/April. 2020. vessels on an old wooden bench board. booklet with pictures and text.
Tokyo Solo exhibition 2019. SOLD
Tokyo Solo exhibition 2019. SOLD
Group exhitibion in SEOUL at Lee Eugean Gallery, October 2-26 2019. All works areSOLD
Group exhitibion in SEOUL at Lee Eugean Gallery, October 2-26 2019. All works areSOLD
London Bluemountainschool. 2018
London Bluemountainschool. 2018
GENEVA Nov 7, 2019- Gallery Ormond Editions
GENEVA Nov 7, 2019- Gallery Ormond Editions
Black porcelain tea bowls. Small treasures. August 2020. Handthrown. All SOLD.
Black porcelain tea bowls. Small treasures. August 2020. Handthrown. All SOLD.
Zürich 2020. Teabowls. Stoneware. ALL SOLD
Zürich 2020. Teabowls. Stoneware. ALL SOLD
Tokyo Solo exhibition 2019. All Works SOLD
Tokyo Solo exhibition 2019. All Works SOLD
Scene in my mountain studio house and showrooms in Soazza/GR: Visits any time by appointment.
Scene in my mountain studio house and showrooms in Soazza/GR: Visits any time by appointment.
Green craquele stoneware summer bowls. July 2020. Three sizes, three shapes. Handthrown. All SOLD.
Green craquele stoneware summer bowls. July 2020. Three sizes, three shapes. Handthrown. All SOLD.

MY WORK – At the moment, 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, 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.

MY WAY – Born in Switzerland without a swiss passport: I started my work as an independent artist in 1998.

Member of the Swiss Ceramics Association ‘swissceramics

2001-2006: Apprenticeship for ceramist
1989-1995: University of Zurich: Art History/German Philology/Philosophy (today M.A.)
1987-1989: ETH Zurich: Architecture Department (today B.A.)


MY 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.
×