Tine Günther
Mylasher.earth
Ceramicist
Leipzig, Germany
A reciprocal force
- Tine's practice brings together painting, ceramics and sculpture
- She develops her own layered glaze surfaces
- Symbolism, nature and intuition guide her creative expression
Tine Günther's background in painting shapes her approach to ceramics across colour, composition and surface. Trained at Burg Giebichenstein University of Art and Design in Halle, Germany, she discovered the material in 2008 and has since developed a practice that combines ceramics, painting and sculpture. Her creations include vessels, vases, tiles, wall reliefs, sculptural objects and mirrors. In her glaze laboratory, she formulates complex layers of oxides, slips and glazes. The resulting surfaces feel painterly while remaining deeply connected to the physical presence of clay. Tine draws inspiration from ancient myths, dreams, folklore, nature, tarot and medieval visual traditions. "I am interested in what exists between the visible and the invisible, the familiar and the imaginary," she explains.
INTERVIEW
I experience working with clay as a reciprocity: I do something with the clay, and the clay does something to me. It is hard to get more down-to-earth and connected than that. Clay is archaic, primal and original, and magical things happen in the kiln.
I am inspired by myths, dreams, folklore and the unconscious. Nature, tarot, medieval manuscripts and archetypal stories like Pan Aroma all inform my work. I am interested in what exists between the visible and the invisible, the known and the imagined.
My background in painting has given me a particular sensitivity to colour and surface. My friends call me the Glaze Queen, and I rather like that. I have a small glaze laboratory at home, where I develop and produce my own glazes. Layering oxides, underglazes, engobes, lustres, crystals and semi-transparent finishes is a defining feature of my work.
There are many different qualities that could define it: authenticity, sensuality, aesthetics and craftsmanship. Categories such as 'good' or 'bad' are not ideal, in my view. A work feels true when it resonates, when it has essence, and when it brings something genuine, tangible and human into contact with the world. The real question is: what happens with this piece? What does it do to me, to others, to the world?
Tine Günther
Mylasher.earth
Ceramicist
Leipzig, Germany
AVAILABILITY
By appointment only
PHONE
+49 17687907178
LANGUAGES
German, French, English, Italian
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