Langmans, Willy


Langmans, W. – Willy (1957-heden) Willy Langmans was born in Bornem (Belgium) in 1957 and is now living in Lebbeke (Belgium).

STUDIES - 1978-1984 : Institute for crafts Mechelen, Ceramics - 1985-1989 : Academy of Fine Arts, St-Niklaas, Monumental Arts - 1991-1994 : Academy of Fine Arts, Dendermonde, Ceramics

EXHIBITIONS - Over 50 exhibitions in Belgium, Holland and Luxembourg since 1990 - Contemporary Crafts Flanders, ECTARC, Wales (UK) 1991 - "In search of a new service", Osaka (Japan), Hohenberg a/d Eger (D) 1994 - European Arts Festival, Newport, Isle of Wight (UK) 1993 - TIETAC, Taipei, Taiwan 1993 - Fletcher Challenge Ceramics Award, Auckland (New Zealand) 1993, 1994, 1996 - Biënnale Internationale de Céramique d'art Utilitaire, Sarreguemines (F) 1993 - 4th World Triennial Exhibition of Small Ceramics, Zagreb (Croatia) 1993 - International Exhibition of Ceramics, Tapei (Taiwan) 1994 - XXXIV Mostra della Ceramica, Castellamonte (I) 1994 - La Maison de la Céramique, Mulhouse (F) 1995 - The 3rd Cairo International Biennial for Ceramics, Cairo (Egypt) 1996 - "Tous dans la Ronde", Douai (F) 1996, 1997, 1998, 1999 - "Bolshow", Bandol (F) 1997 - Triennale de l'Art de la Céramique de Spiez (CH) 1997 - "The Contemporary Teapot", Keramikmuseet Grimmerhus, Middelfart (DK) 1997 - 5th World Triennial Exhibition of Small Ceramics, Zagreb (Kroatië) 1997 - Biennal Europea de Ceramica, Manises (E) 1997 - "Terres Etrangères", Galérie Ambre, Paris (F) 1999 - 4e Salon de la céramique, Saint-Cergue (CH) 1999 - XXI concurs internacional de ceramica, l'Alcora (E) 2001 - CERCO 2003, Teruel, Zaragoza, Huesca (E) 2003 - Gold Coast International Ceramic Art Exhibition, Surfers Paradise (Australia)2003 SELECTIONS AND AWARDS - Medal of the government, Ceramics and Glass 1988 - Selection Provincial Award Antwerp 1988 & 1992 - Selection VIZO, Department crafts 1991 - Honourable Mention "Dirk Bouts Award", Leuven 1992 - Honourable Mention Triennial for Small Ceramics, Zagreb 1993 - Selection VIZO-Price "Henry van de Velde", Brussels 1994 - 1st prize Keramiek Hedendaagse Vormgeving, Brugge 1999 - 3rd prize Keramiekbiennale, Andenne 2000 - 1st prize Kunstprijs 2000 "Keramiek", Heist-op-den-Berg 2000 - 1st and 2nd prizes Kunstwedstrijd 75 jaar ENI, Aartselaar 2001 - 3rd prize Keramiekbiennale, Brasschaat 2002 - 2nd prize CERCO 2003, Premio Internacional de Cerámica Contemporánea, Zaragoza 2003 - Acquisition award, Gold Coast Ceramic Art Award, (Australia) 2003 - 2nd prize of the jury, Keramiekbiennale, Andenne (B) 2004 - 2nd prize of the public, Keramiekbiennale, Andenne (B) 2004 - Culture prize of the municipality of Lebbeke 2004

BIBLIOGRAPHY - "ARS CERAMICA", Contemporary ceramics in Belgium, J. Walgrave 1992 - "Kwintessens", volume III Nr. 1, Flemish Review for crafts and design; portfolio - "Bloeiende Klei", Ceramics and Ikebana, Mit Ingelaere-Brandt 1995 - "Openbaar Kunstbezit in Vlaanderen", Arts and Crafts today in Flanders, 1996-1 - "Ceramic Art Monthly", Korea, December 1998 - "Kwintessens", volume IX Nr. 4, Fl. Review for crafts and design; portfolio, 2000 - "Ceramica 02", Keramiekgids voor België, Editions Armature 2002 - "Artelier", Gids voor Hedendaagse Kunstambachten in België 2004 - "Ceramica 04" Keramiekgids voor België, Editions Armature 2004 - "Kunst tussen Schelde en Dender", J-P van der Poorten en P Vandevelde 2004 PUBLIC

COLLECTIONS - Taipei Fine Arts Museum, Tapei, Taiwan - Artcollection of the city, Lommel (B) - Provincial artcollection, Antwerp (B) - Artcollection of the city, Dendermonde (B) - Artcollection of Saint-Cergue (CH) BACKGROUND My potsculptures are composed of simple parts which are formed on the throwing wheel. By placing these sober and refined forms in and onto each other, these pots develop into sculptures without the pretention of being sculptures. I work with the most simple techniques. Without making use of any glaze, very subtle shades of colour arise from the burnishing of the clay, the smoking and other techniques of reduction. These nuances of colour are accentuated by means of sparsely scratched decorations. Every excess is omitted, no frills, no superfluity, no intricate chemical formulas; to get to the heart of spirituality in all simplicity. The richness of the material and the palpability of the fire give these potforms an intriguing dimension and a monumental character. The material becomes exponent of the mind : soul and body become one. The spiritual and the earthly touch each other and cannot live without each other. For these reasons these forms seem to be objects for sacral actions. Are they sacrificial bowls, sacred objects, ritual forms or just the result of a ritual action ?

TECHNIQUE I use several kinds of clay, as long as it doesn't contain any grog. I have noticed that every clay has its own colournuance in the smokingprocess. Most of the parts of my potsculptures are thrown, except for the slices on top of the pots. These are casted. Herefor I use a casting body which I sometimes colour with stains. The small forms which are in the slices are thrown with a porcelain body. After throwing, in the leatherhard stage, I burnish the pieces several times (without slib or whatever). When they are dry enough, I sometimes scratch out some decorations. Than they are biscuit fired at 950 °C. After the biscuit firing, I smoke my pots in an electrical kiln in metal bins. The small forms in the slices are treated with sulphates and fired outside in a pitfire. After the firings I join the parts together.

BRON website Willy Langmans