Much of the ceramic, seen in Denmark, is, of one or another form of natural inspiration. This applies to both the shape as the glaze. Organic growths plants, the colors of the landscape, the different shades of blue of the sky and the sea, are some of the things one associates for when looking at a piece of typical Danish unique ceramics.
Charlotte Nielsen has approached things a bit differently. Looking at the three pots on the opposite side, we notice the dark color and the rough texture, which is one of the hallmarks of raku-fired ceramics. The forms themselves are also reminiscent of something that is very far from the organic nature. The twisted spire most resembling the machine fascination, which, among other things, is found in Fernand Léger and Francisca Clausen paintings from the 1920’s. A fascination, among other things, originated in a celebration of and belief in technology’s possibilities for a better world without capitalist exploitation and degradation of labor. A fascination and an optimism that would eventually diminish greatly when you saw how this same technology in practice eliminated jobs and were used for weapons of mass destruction.
Rather than being products of a golden machine technology Charlotte Nielsen jars also appear to be the rusted relics of the same. The burnt traces of a lost civilization that future archaeologists will find in the ground in about 100 or 200 years.
Another thing that you get associations of is fossils. The jars can recall the millions of years old fossilized sea urchins, octopus and arthropods, among other things you find aqt Fur and at Stevns Klint. Remains of animals whose composition and exterior actually resemble products from the technological revolution. Something that also applies to animals today and something that helps to emphasize evolutions learning about adaptability: an optimal design in relation to the environment, animals live in.
The contrast between the organic and mechanical elements in Charlotte Nielsens ceramics helps to give it a greater range than what you normally find when looking at Danish ceramics. Unlike other artists, where form and content slides imperceptibly and painlessly into each other, you are astonished by Charlotte Nielsens ceramics. It generated a bit disconcerted. As being caught up in the sensuality and the porous beauty of the jars.
It certainly is this duality of something organic and mechanically, something aesthetic and industrial and something almost Japanese minimalism and fiercely dynamic that makes Charlotte Nielsens ceramics so exciting and different. It stands out.
in “101 artists”, 2015