Heidi + Rasmus = True Love

Rasmus Meyer is primarily recognized for his vision of establishing a 'national gallery' for Western Norway and the exceptionally high quality of the art collection he curated.

A lesser-known aspect of Rasmus Meyer is his profound passion for ceramics, leading to his outstanding collection of 18th-century Meissen porcelain. On multiple occasions, Meyer donated pieces of this collection to Vestlandske kunstindustrimuseum, today a part of Kode.

Heidi + Rasmus = True Love

In this exhibition, the Norwegian artist and curator, Heidi Bjørgan, weaves connections between Rasmus Meyer's collecting endeavors and her own artistic passion for the history of ceramics. Exploration and deconstruction of the archetypal vocabulary of ceramics take center stage, in a captivating showcase that simultaneously challenges and enchants.

For several years, the eccentric American ceramicist George Ohr (1857–1918) has been a significant influence on Bjørgan's works, serving as both inspiration and a point of reference.

In a manner akin to Ohr, Bjørgan has challenged the notion of what constitutes good ceramics by 'erasing' traces of all learned skills. Bjørgan has innovated new techniques, yielding unconventional visual effects. The approach involves doing everything that theoretically shouldn't work, such as mixing glazes and types of clay that aren't supposed to be combined. What happens then?

Bjørgan draws upon her experience and skills as a ceramic artist to push boundaries and defy the traditional rules that bind materials, reflecting on themes of decay and beauty.

With her contemporary female artistic perspective, Bjørgan initiates fresh and surprising dialogues within a collection presentation predominantly featuring paintings created by male artistic geniuses.

About the Artist

Heidi Bjørgan (b. 1970) is educated at the Bergen Academy of Art and Design and Konstfack in Stockholm. She also holds a curator degree from the Bergen Academy of Art and Design.

As both an artist and curator, Bjørgan has contributed to the renewal of the discourse surrounding craft in Norway in the 21st century. Her works have been acquired by numerous art museums, as well as private collections in Norway and abroad.