© 2024 Aage Würtz Keramik – Designet af Aveo web&marketing
Creating ceramics together broadens our horizon and expands our breath.
Fragments of ideas, possibly in vastly different directions, in synthesis give rise to new insights. This gives the possibility for ceramics, in a community, to be lifted to a whole new third place. Perhaps a different concentrate… but to a level that is more beautiful and enduring over time.
There, together, we find the joy of creating ceramics.
Creating ceramics together broadens our horizon and expands our breath.
Fragments of ideas, possibly in vastly different directions, in synthesis give rise to new insights. This gives the possibility for ceramics, in a community, to be lifted to a whole new third place. Perhaps a different concentrate… but to a level that is more beautiful and enduring over time.
There, together, we find the joy of creating ceramics.
When I was 15 years old and had just finished elementary school, I ended up, as was the norm at the time, at the Commercial School. I have always known that I wanted to be a potter and it soon became clear to everyone that the Commercial School was definitely not for me. The compromise was therefore, that I should at least complete the first year, maybe with a small hope of changing my mind.
After the Commercial School, I got an apprenticeship at the Royal Porcelain Factory in Copenhagen as a ceramics worker. I worked in the Stoneware Cellar, where I learned to cast the famous stoneware bears and also had daily interaction with the only potter on the premises and worked with various artists such as Ivan Weiss and Anne Marie Trolle. A completely new exciting and developing world was revealed to me, and I became more and more “in love” with the profession and its many possibilities.
Finally, in 1984, I got the long-awaited apprenticeship at Würtz Keramik in Horsens. I was in apprenticeship for four years, received my journeyman’s certificate in 1988 and then worked as a potter’s journeyman with Aage Würtz as a dear colleague.
I remember these years as something quite special. I loved my profession and found great joy and pride in being part of the production, while also having the freedom to develop my form and be part of product development.
Later I studied to be a social pedagogue and worked at a special school, home and residential institution for many years. However, I missed my life with clay terribly and therefore incorporated it as a pedagogically developing activity in my work with children, young people and adults.
One day I randomly met my dear friend and colleague Aage Würtz in a stairwell in Horsens.
We started a small collaboration where I turned various items for Aage’s small unique workshop. It was a fantastic and wonderful feeling, finally having contact with the profession that is so close to my heart.
I was hired at KH Würtz, where I worked in production as a potter and helped develop new products.
On June 1, 2022, Aage and I took over the workshop on Smedegade in Horsens. Here we now both have our daily routine in our lovely joint workshop – and we have even become a married couple.
When I was 15 years old and had just finished elementary school, I ended up, as was the norm at the time, at the Commercial School. I have always known that I wanted to be a potter and it soon became clear to everyone that the Commercial School was definitely not for me. The compromise was therefore, that I should at least complete the first year, maybe with a small hope of changing my mind.
After the Commercial School, I got an apprenticeship at the Royal Porcelain Factory in Copenhagen as a ceramics worker. I worked in the Stoneware Cellar, where I learned to cast the famous stoneware bears and also had daily interaction with the only potter on the premises and worked with various artists such as Ivan Weiss and Anne Marie Trolle. A completely new exciting and developing world was revealed to me, and I became more and more “in love” with the profession and its many possibilities.
Finally, in 1984, I got the long-awaited apprenticeship at Würtz Keramik in Horsens. I was in apprenticeship for four years, received my journeyman’s certificate in 1988 and then worked as a potter’s journeyman with Aage Würtz as a dear colleague.
I remember these years as something quite special. I loved my profession and found great joy and pride in being part of the production, while also having the freedom to develop my form and be part of product development.
Later I studied to be a social pedagogue and worked at a special school, home and residential institution for many years. However, I missed my life with clay terribly and therefore incorporated it as a pedagogically developing activity in my work with children, young people and adults.
One day I randomly met my dear friend and colleague Aage Würtz in a stairwell in Horsens.
We started a small collaboration where I turned various items for Aage’s small unique workshop. It was a fantastic and wonderful feeling, finally having contact with the profession that is so close to my heart.
I was hired at KH Würtz, where I worked in production as a potter and helped develop new products.
On June 1, 2022, Aage and I took over the workshop on Smedegade in Horsens. Here we now both have our daily routine in our lovely joint workshop – and we have even become a married couple.
I was overwhelmed by the power of the two small bowls in the glass display. They were humble and full of strength at the same time.
The following days, I visited them several times.
I have felt the presence of the two bowls since then. A couple of simple Japanese raku bowls, displayed at the Art Industry Museum in Copenhagen in 1972.
They were asymmetrical. They were authentic. They had always been there. It was a different story than the loud symmetrical narrative I had previously heard. The bowls were so still, I lost my breath in awe. How could they? Was it possible?
I haven’t sought out the bowls since then- I haven’t been to Japan and don’t know much about Japan…… The bowls touched my heart. I have been searching for that feeling ever since.
I became an apprentice potter under my sister Marie Würtz in 1971.
Aside from a period in the 90s, I have been fortunate enough to spend my entire working life absorbed in the magic of clay.
In 2006, I started a fruitful collaboration with my son Kasper Würtz. Over the next 15 years, together we developed a sustainable concept that included creating dinnerware for Noma and numerous other Michelin restaurants around the world.
Being able to reflect my own quest for the perfect pot in the many dedicated chefs’ work with their craft, it revitalized me.
After successful years with KH Würtz, a new chapter began with a unique workshop in 2022.
Today, I am lucky again after a 30-year hiatus to work alongside Gitte Einshøj Würtz.
Creating quality ceramics alone is a steep climb…getting competent feedback and counterplay is necessary to prevent the necessary permanent development from running into too many blind alleys or going completely off track.
It is a privilege to do what you love with the person you love.
I was overwhelmed by the power of the two small bowls in the glass display. They were humble and full of strength at the same time.
The following days, I visited them several times.
I have felt the presence of the two bowls since then. A couple of simple Japanese raku bowls, displayed at the Art Industry Museum in Copenhagen in 1972.
They were asymmetrical. They were authentic. They had always been there. It was a different story than the loud symmetrical narrative I had previously heard. The bowls were so still, I lost my breath in awe. How could they? Was it possible?
I haven’t sought out the bowls since then- I haven’t been to Japan and don’t know much about Japan…… The bowls touched my heart. I have been searching for that feeling ever since.
I became an apprentice potter under my sister Marie Würtz in 1971.
Aside from a period in the 90s, I have been fortunate enough to spend my entire working life absorbed in the magic of clay.
In 2006, I started a fruitful collaboration with my son Kasper Würtz. Over the next 15 years, together we developed a sustainable concept that included creating dinnerware for Noma and numerous other Michelin restaurants around the world.
Being able to reflect my own quest for the perfect pot in the many dedicated chefs’ work with their craft, it revitalized me.
After successful years with KH Würtz, a new chapter began with a unique workshop in 2022.
Today, I am lucky again after a 30-year hiatus to work alongside Gitte Einshøj Würtz.
Creating quality ceramics alone is a steep climb…getting competent feedback and counterplay is necessary to prevent the necessary permanent development from running into too many blind alleys or going completely off track.
It is a privilege to do what you love with the person you love.
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© 2024 Aage Würtz Keramik – Designet af Aveo web&marketing
