Weaving: Renewing a Family Tradition

我父亲是来自瑞士苏黎世州的世界级纺织工作者;他是前包豪斯Johannes Itten的门生。我的母亲是苏黎世Textilfachschule的第一位女学生,在那里她遇到了我父亲。在我小的时候,父亲曾让我为他的公司设计纺织品。后来,12岁到14岁之间,我选择每天进行手工织布。后来我去了没有织布机的学校。我父亲告诉我,纺织行业正在消亡,他不会让我进入他的公司。在我就读的大学的艺术系里,纺织并不被视为一门艺术。相反,我将学习方向转为陶瓷,这是来自家族的另一种热情。结束学业以后,我的作品吸引了著名的纺织设计师Jack Lenor Larson,他一直将我置于他的庇护之下。通过他,我的作品被一些博物馆收藏,其中包括纽约大都会博物馆。我从未忘记过自己的“根”,林教授的生活和艺术作品使我着迷,他为我重新打开了纺织界的大门。回归纺织是一件如此令人愉悦的事情——这种创造性的与深思的实践将永远流淌在我的血液之中。

My father was a world-class weaver from the canton of Zurich in Switzerland; he was the protégé of Johannes Itten, formerly of the Bauhaus School. My mother was the first female student at the Textilfachschule in Zurich where she met my father. As a small child, my father invited me to design textiles for his firm. Later, from ages 12 to 14, by choice I hand-wove every day. Then I attended schools that did not have looms. My father told me textiles was a dying business and he would not let me join his firms. In the art departments of the universities I attended, weaving was not considered an art. So I turned to ceramics, which is another family passion. After my studies, my work appealed to famed textile designer Jack Lenor Larson who took me under his wing. Through him my work was collected by museums including the Metropolitan Museum of Art in New York City. Never having forgotten my roots, Professor Lin’s life and artwork fascinated me. Professor Lin re-opened the door to weaving for me. It is a great pleasure to return to weaving, a creative and meditative practice that will always remain in my blood.

I am incorporating weaving in my new installations.

Ke Museum of Fine Arts in Shanghai Adds Marc Leuthold’s Ivory Accretion to its Permanent Collection

The Ke Museum of Fine Arts in Shanghai has purchased Marc Leuthold’s Ivory Accretion for its permanent collection, following the exhibition “Encounter: Shanghai Contemporary Ceramics Experimental Art.”  24 Chinese and 8 foreign artists were invited to participate in the exhibition.  In a press release, the exhibit was described as a collision of various camps in the evolving arena of avant-garde ceramics.  Li Xiaoshan, Zhao Peishang, and Yuan Hong co-curated the exhibition.

Marc Leuthold at Marble and Sound Symposium in Arandjelovac, Serbia

Marc Leuthold and Ivan Djordjevic

In August 2020, at the invitation of artist and professor, Dr. Ljubica Jocic-Knezevic, Marc Leuthold participated in the three-week Marble and Sound Symposium – now in it’s 55 year.  This symposium is held in a 150-year-old park enclosing mineral springs and studded with marble sculptures created in the last half-century.  While there, in Arandjelovac, Serbia, Leuthold created a large marble sculpture with numerous apertures that reveal a collection of porcelain sculptures inside.  The sculpture, his first public work of art, will be installed in the park in 2021.  Many thanks to Symposium Director Katarina Perovic and stone mason, Ivan Djordjevic who were instrumental in carrying out an ambitious plan in record time. 

Marc Leuthhold at Terra Sculpture Symposium

Marc Leuthold (l) with Slobodan Kojic (r)

Artist Slobodan Kojic began Terra Sculpture Symposium 39 years ago in a vacant brick factory. Kojic – a major artist – represented all of Yugoslavia at the Venice Biennale exhibition in 1999. Inviting six sculptors this year and similar numbers in previous years, Kojic’s team built the world’s largest terracotta sculpture collection – now housed in the Terra Museum.  Terra, at the suggestion of artist Velimir Vukicevic invited Marc Leuthhold for a month of creation and artist fellowship.

Marc Leuthold at Art Labor Gallery, Shanghai

ART LABOR Gallery is pleased to present the dual solo exhibition by American artist Marc Leuthold and Chinese artist Li Lihong. The exhibition is from September 21st to October 27th, 2019. The opening reception is from 6 – 9 pm, Saturday, September 21st.

Both artists are renowned in the field of ceramic art, yet distinct with their own unique atheistic. Entitled “Hand and Machine”, the exhibition is a conversation between the handmade and machine creation, as well as a conversation between the two artists exploring Eastern and Western cultural influences.

Marc Leuthold has a long interest in Eastern philosophy, and this eastern aesthetic is embodied throughout his creations. On the contrary, Li Lihong, born into a long family line of porcelain artisans tracing back to the emperor Tong Zhi in the early Qing Dynasty, has been focusing on exploring temporary porcelain under the influence of western pop art and consumer culture. Both artists are grounded within the cultural contexts of their upbringings, while searching for expressions through the other.

Through this medium of clay, Leuthold’s works are a play between the soft and hard, and the fluid and crystalline. An element of surprise occurs in his studio, sometimes yielding unexpected forms, surfaces and colors. This leads to re-invention and experimentation. Even when repeated, forms are inherently unique. His ceramic sculptures, most often, are discrete objects that are exhibited sometimes singularly and sometimes in dialogue with one another in installation environments. In these environments, the artist often incorporates other media such as wood, glass, paper, ink paintings, bronze and literary texts.

After years of hand making all his sculptural works, Li Lihong started experimenting with ceramic 3-D printing last year. Blending the cutting edge technology into his practice, creating artwork that plays with the new possibilities while testing its limitations is what intrigues him the most. Even with the machine, the seemingly unified sculptural form is still hard to find. With 3-D printing, each piece expresses its own uniqueness through inimitable “line prints”, upon close observation, the stereotypical notion of repetitiveness and uniformity dissipates, making us dive deep into and question the concepts of hand verses machine, monotony verses diversity, command verses free will.