E R N A A A LT O N E N N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A N O S TA LG I A

E R N A A A LT O N E N N O S TA L G I A

w hen p or ing ov er ol d n e w spa per cl ippings a bou t er na a a lt on en’s c a r eer , t he wor ds “h a r mon y ” a n d “r educ t ion” o cc u r r epe at edly t o get her w i t h r ef er ences t o ol d a n d a rch a ic cer a m ic c u lt u r es. i t is t ru e t h at er na a a lt on en cr e at es her v essel s by r esort ing t o gen t l e va r i at ions a n d sm a l l modif ic at ions.

er na a a lt on en beg a n her cer a m ic st u dies at age t hirt y at t he k uopio ac a de m y of design u n der t he t u t el age of heik k i j y l h ä-v uor io, t he au t hor of a t e x t bo ok , st il l in use , a bou t cer a m ic r aw m at er i a l s. a a lt on en wa s in t er est ed in gl a z es a n d a n in t er nship wa s a r r a nged for her at t he a r a bi a wor k s col or l a bor at ory.

on e shou l d no t u n der-est i m at e t he i m p orta nce of t he a r a bi a p orcel a in fac t ory in t he hist ory of f in n ish cer a m ic a rt bec ause i ts a rt depa rt m en t, fou n ded in t he 1940s, h a s serv ed a s t he inc u b at or for f in n ish cer a m ic a rt ists a s w el l a s a wor k pl ace for n u m erous for eign pr ac t i t ion er s.

er na a a lt on en wa s, a f t er gr a duat ion, in v i t ed by hil k k a hilt u n en, t he produc t de v el opm en t engin eer at a r a bi a , t o com e on sta f f t o wor k w i t h t he n e w pro a rt e ser ies. a a lt on en wa s a l so gi v en t he opp ort u n i t y t o co oper at e w i t h v isi t ing a rt ists; she r ec a l l s especi a l ly her col l a bor at ion w i t h j u n k a n eko.at a r a bi a , a a lt on en a l so bec a m e acqua in t ed w i t h her f u t u r e l if e pa rt n er howa r d sm i t h. her f ir st p u bl ic wor k wa s a r el ief “k er a m iik k a k ausi” (cer a m ic age) consist ing of 4 25 col or f u l t il es. i t wa s wa s u n v eil ed in 1987 in con j u nc t ion w i t h t he open ing of a r a bi a’s n e w produc t de v el opm en t l a bor at ory.

a a lt on en a n d sm i t h esta bl ished t heir st u dio a rt eos in t he sou t h- cen t r a l t ow n of t erva kosk i in 1988. sm i t h design ed t he a rt ifac ts a n d a a lt on en de v el oped t ech n iqu es a n d f ina l i z ed t he produc ts. bir d sc u l p t u r es a n d b a lu b a va ses w er e cr e at ed t her e a n d sol d, for e x a m pl e , at t he l a n dm a r k st o ck m a n ns depa rt m en t st or e in hel sin k i. du r ing t he se v en y e a r s spen t at t erva kosk i , a a lt on en m at u r ed in t o a t ech n ic a l ly consu m m at e prof essiona l .

a a lt on en hel d her f ir st per sona l e x hibi t ion in 1993 at g a l l er i a sep ta r i a in hel sin k i , t o en t h usi a st ic r e v ie w s. t h at e v en t f e at u r ed t hirt een v essel s w hose na m es – a mong t he m, t el lus, s at u r n us, lu na - a l lu ded t o t heir sh a pes a n d col or s. t heir e x t r e m ely t in y b a ses cr e at ed t heir ow n l e v el of suspense a n d e m ph a si z ed a sense of ou t er space. t he v essel s , h a n d -bu ilt f rom t hin ly rol l ed cl ay sheets , w er e e x t r e m ely spa r e a n d a scet ic l o ok ing. t he blu e , blu e- gr een a n d gr e y h u es achie v ed w i t h t he use of copper ox ides a r e si m il a r t o t hose favor in a ncien t eg y p t a n d t he isl a m ic wor l d.

S E N S U A L S U R F A C E S A N D A F E E L I N G O F L I M I T L E S S S P A C E C H A R A C T E R I Z E E R N A A A LT O N E N ’ S C E R A M I C W O R K .

I N T O U C H W I T H T H E PA S T T H R O U G H H A N D B U I L D I N G

in a n in t erv ie w at t h at t i m e, a a lt on en s a id t h at she wa s fa scinat ed by t he t hough t t h at peopl e t hous a n ds of y e a r s ag o, w hil e wor k ing w i t h t he s a m e m at er i a l s , h a d per h a ps e x per ienced t he s a m e k in d of joy a n d ag on y. “ i f eel t h at i h av e l e a r n ed w h at i t is t o be h u m a n a n d t o gr a sp t he pa st in a dif f er en t way t hrough t his wor k ing con n ec t ion t o pr e-hist ory.”

u r ns a n d t il es h av e esta bl ished t he mselv es a s her t r a de m a r k s. she is k now n for her del ic at e cer a m ics a n d st rong, m y st ic a l col or s. in l at e 1997 t hrough e a r ly 1998 she hel d a n e x hibi t ion c a l l ed ody sse y at t he h ä m een l in na a rt m useu m.

a spir i t ua l qu est, a se a rch t o def in e her ow n rol e , wa s e v iden t in t he v essel s na m ed “t he sh a m a n,” “t he a rch bishop” a n d “t he qu een.” a n e w el e m en t wa s in t roduced w i t h pr ecise a n d pronou nced su r face r el iefs , a l most m eta l-l ik e a n d a l o of. t he wor k s show n in a a lt on en’s ody sse y e x hibi t ion r ef l ec t ed her t rust in her ow n v ision, a n d her pl ace in t he f iel d of f in n ish cer a m ics bec a m e def in ed.

er na a a lt on en’s wor k s h av e a ppe a r ed in e x hibi t ions t hroughou t eu rope a n d h av e a l so been seen in ja pa n, china , kor e a , t he u n i t ed stat es a n d m e x ico. in 2006 she wa s a dm i t t ed t o t he in t er nat iona l cer a m ics bien na l in va l l au r is . t he i m p orta n t g a l l er ists w ho h av e show n her wor k inclu de inger mol in in st o ck hol m, phil ippe den y s in brussel s , a n d t he c a r l in g a l l ery in pa r is . t he den y s e x hibi t ion in 2004 wa s a m il est on e in a a lt on en’s c a r eer a s a l l t he e x hibi t ed wor k s w er e p u rch a sed, w i t h se v er a l of t he m g oing t o m useu m col l ec t ions.

a a lt on en h a s a l so been a n ac t i v e pa rt icipa n t w i t hin t he f in n ish cer a m ics com m u n i t y a n d wa s inst ru m en ta l in t he a r r a nge m en ts for t he 2010 spr ing e x hibi t ion, f e u er u n d eis , of c u r r en t f in n ish cer a m ics at t he höhr- gr en z h ausen m useu m of cer a m ics in w est erwa l d, a n d at t he g a l l ery m a r i a n n e hel l er in heidel berg.

f in n ish cer a m ic a rt ists h av e a d op t ed a s t heir ow n a moder n a est het ics of t he m at er i a l , st r ipped of or na m en t a n d e x hibi t ing m in i m a l gest u r es. k y l l ik k i s a l m en h a a r a (1915-1981) wa s t he rol e model for m a n y of t oday ’s cer a m ic a rt ists inclu ding k at i t uom in en-n i i t t y l ä , k r ist ina r isk a , pek k a pa ik k a r i a s w el l a s er na a a lt on en.

B E A U T Y I N N AT U R E C A L M S A N D A C T I VAT E S

M I C R O C O S M A N D M A C R O C O S M

er na a a lt on en d oes no t use t he w heel a n d cl a i ms she is inc a pa bl e of t hrow ing a p o t. her pl a in a n d u na d or n ed for ms ta k e sh a pe t hough u n h u r r ied h a n d bu il ding. t he gen esis of a n obj ec t is grou n ded in t ech n iqu e bu t t he en d r esu lt a lway s depen ds on a cr e at i v e mom en t w hen t he wor k at h a n d r ecei v es i ts f ina l for m. she favor s rou n dn ess a n d e x t en ds i t in va r ious way s – a concer n de m a n ding concen t r at ion a n d pr ecision. t he r ich m icro cosm of t he su r face con t r a sts w i t h t he si m pl e sh a pe. t his is achie v ed by t r e at ing t he su r face st ruc t u r e of t he v essel s , in i t i a l ly w i t h r a sps a n d s aw bl a des bu t since 2001 w i t h a per sona l ly e volv ed eng obe t ech n iqu e in w hich l ay er s of cl ay sl ips in con j u nc t on w i t h gl a z es achie v e u n e x pec t ed a n d sensua l t e x t u r es.

t he sc a l e of er na a a lt on en’s cer a m ic a rt e x t en ds f rom sm a l l , del iber at ely con t rol l ed i t e ms t o l a rge v essel s – ov er 80 cen t i m et er s in heigh t – in w hich t he r isk of fa ilu r e is a lway s pr esen t. w hen t he y succeed, t he r esu lt is a n e x t r e m ely l i v ely a n d r ef in ed i t e m, a f for ding t he m a k er a gr a n d sense of success a n d t he v ie w er a r e a son for a dm ir at ion a n d a m a z e m en t. a a lt on en’s e x hibi t ions a lway s com bin e t he sm a l l a n d t he l a rge. by j u x ta p osing wa l l t il es a n d v essel s of va r ious si z es , she achie v es a h a r mon ious a n d t i m el ess a m bience.

a a lt on en’s v essel s h av e a m in i m a l b a se a n d a n e v en t in ier open ing. t he mou t h of t he v essel ei t her r ises discr et ely u p f rom t he su r face or is sh a ped a s a n e at nav el t h at fol ds in t o t he v essel . r eg a r dl ess of t heir col or ing, t heir in t er ior a lway s a ppe a r s da r k a n d in f in i t e .

t her e a r e su r pr isingly n u m erous con n ec t ions t o s y m bol ism in er na a a lt on en’s cer a m ic a rt. on e of t he ch a r ac t er ist ics of s y m bol ism is t he sensi t i v i t y t o t he pr esence of nat u r e in i ts m a n y gu ises. in i ts f in n ish con t e x t w e f in d con n ec t ions t o t he pa r a l l el wor l d of sh a m a n ism. t he s y m bol ists en de avor ed t o m a k e qu iet u de v isibl e a n d, t hrough i ts echoes, t o cr e at e pauses t h at l ik e m usic t ry t o r e ach vac a nc y. in t he v isua l a rts , t his wa s m a n if est ed a s da r k , en dl ess , u n def in ed space a rou n d f igu r es.

t he spher ic a l v essel s h av e in r ecen t y e a r s st r et ched in t o va r ious u n du l at ing a n d pl e at ed for ms. in a ddi t ion t o fol ds a n d pl e ats , a a lt on en h a s a l so produced w h at essen t i a l ly a mou n ts t o hol l ow bou l der s w i t h el l ip t ic a l di a m et er s. t he col or s h av e e volv ed f rom blu e- gr eens a n d e a rt h t on es t o bl ack a n d n e a r w hi t e . w i t h t he hel p of m eta l ox ides, t he su r faces a r e being accen t uat ed by gl i m m er ing cry sta l s. a a lt on en h a s a l so m a de t o ta l ly cl osed bou l der-l ik e v essel s , bu t s ay s t h at i t som et i m es f eel s i m p ossibl e t o cl ose u p t he inside space bec ause i ts in f in i t y is so seduc t i v e .

er na a a lt on en’s wor k s h av e becom e mor e com pl e x , bu t she s ay s t h at she h a s no pl a ns t o a b a n d on her rou n d v essel sh a pes. she m ust m a in ta in her t ouch.

G O O D A R T C L E A R S T H E M I N D

t he h a n d bu ilt v essel s a r e brushed w i t h cl ay sl ips in n u m erous l ay er s; t he sl ip a dher es t o t he r a ised pa rts of t he su r face t h at “grow s” a n d becom es rough a n d gr a in y.a f t er t he bisqu e f ir ing (t o a pprox . 1000 c) t he su r face is pat inat ed w i t h m eta l ox ides t h at set t l e in t he gro ov es w hil e t he r a ised pa rts a r e w iped cl e a n. t he v essel s a r e spr ay- gl a z ed once or se v er a l t i m es w i t h col or ed gl a z es. gl oss f ir ing ta k es pl ace in a n el ec t r ic k il n at 1260 c. ox ides or gl a z es a r e of t en a dded a n d t he wor k s a r e r e-f ir ed, som et i m es u p t o t hr ee or fou r t i m es t o achie v e t he desir ed col or .

t ei ja isoh au ta , m a , a rt hist or i a n, 2011.she h a s serv ed a s c u r at or at t he a lva r a a lt o

m useu m for 25 y e a r s a n d is now a f r ee l a nce w r i t er on a rchi t ec t u r e , a rt a n d design.

W O R K S

h 2 5 ” x d 1 3 . 2 5 ”

G L O W

h 1 6 . 2 5 ” x d 8 . 7 5 ” G R E E N W AY

h 2 5 ” x d 1 2 ” R O S E L I A

h 2 9 . 5 ” x w / l 1 1 ” S P L A S H

h 2 5 . 5 ” x d 2 0 ” C R E T E

h 1 2 . 2 5 ” x d 9 ” R E E D

h 1 1 . 5 ” x d 1 0 ” U T U

h 1 4 . 5 ” x d 8 ” N O K I

h 1 4 . 5 ” x d 8 ” VERYTIDE

h 3 2 . 7 5 ” x d 1 0 . 2 5 ”

C H A R D E S

h 8 . 7 5 ” x d 1 0 ”

R I E K K O

h 1 7. 2 5 ” x d 1 7. 2 5 ” F L A M E

h 1 2 ” x d 1 3 . 5 ”

O C E A N A

h 3 2 ” x d 1 3 ”

N I E T O S

h 2 5 ” x d 8 . 7 5 ”

S E C R E T

h 9 . 5 ” x d 1 0 ” P U T N E Y

h 3 2 . 2 5 ” x d 1 9 . 7 5 ” R O T K O

h 3 0 ” x d 1 9 . 2 5 ” R AV I N E

h 1 3 . 5 ” x d 9 . 7 5 ” L E O N A

S T U D I E S

C A R E E R

M E M B E R S H I P S

S O L O E X H I B I T I O N S

1981-87

1986

1996-

1988-95

1987-88

2012 -

2010-

1996-

1996-

2006-

2012

2009

2008

2007

2004

2003

2002

2001

2000

1999

1999

1997

1993

i ac in ter nationa l ac a da m y of cer a mics

helsink i fat cl ay

or na mo, finnish cr a ft a nd design a ssoci ation

the cooper ati v e of a rtisa ns, designer s a nd a rtists in fisk a r s

a rtists o, f inl a nd

k uopio ac a dem y of design, finl a nd

r ese a rch tr a ining in the colour l a bor atory of a r a bi a cer a mic

factory, helsink i

nosta lgi a , hedge ga llery, sa n fr a ncisco

ga ller i inger molin, stock hol m

ga llery nor su, helsink i

ga llery 5 , oulu, finl a nd

c a r lin ga llery, pa r is

ga llery nefr et, t ur k u (å bo), f inl a nd

inger molin, stock hol m

ga llery bronda , helsink i

ga llery inger molin, stock hol m

ga llery r ista , ume å , sw eden

ga llery bau, helsink i

volupi, a r a bi a museum, helsink i

ga llery inger molin, stock hol m

echoes, ga llery bau, helsink i

odysse y, h ä meenlinna a rt museum, finl a nd

ga llery bau, helsink i

cer a mic ga llery sep ta r i a , helsink i

ow n atelier in fisk a r s, f inl a nd

st udio a rteos in terva kosk i w ith a rtist howa r d smith

pro-a rte-cer a mist, a r a bi a cer a mic factory, helsink i a ssisting a mong

other s the a rtists k ati t uomin en-niit t y l ä a nd j u n k a neko

J O I N E D E X H I B I T I O N

G R O U P E X H I B I T I O N S

2004

2002

2001

2011

2010

2009

2008

2007

2006

2004

ga llery philippe den ys, brussels, w ith k r istina r isk a a nd k ati t uominen-niit t y l ä

der nör dliche ga rten, finnish instit u te in ger m a n y, ber lin a nd

gr a phic design school , a nk l a m, ger m a n y, together w ith te x tile a rtist k atr i h a a hti

bor e a s, f innish instit u te in fr a nce, pa r is, together w ith te x tile a rtist k atr i h a a hti

cheongj u in ter nationa l cr a ft bienna le, kor e a

tools, gr a na ry, fisk a r s

luksus 09, a rtotheque de c a en, fr a nce

in the woods…, ga llery nor su’s 5-y e a r s j u bileumse x hibition, helsink i

k y l ä ssä - v isit ing, ta itokort teli, joensu u, finl a nd

feuer u nd eis, k er a mik museum w esterwa ld, höhr- gr enzh ausesen, ger m a n y

feuer u nd eis, ga ler ie m a r i a nne heller , heidelberg, ger m a n y

secr et, fisk a r s

heija st uksi a - åter seende - second sight, k u pa r ipaja , f isk a r s

r e-in ter pr iting nat ur e, a design forum e x hibition in the museum of a pplied a rts, bu da pest

åter seende - second sign t brygger iet i nor a , sw eden

luksus 09, design forum finl a nd, helsink i

fisk a r s design v ill age, cen tro cult u r a l sa n to dominiqu e, oa x ac a , me x ico

m atk a - a jour ne y, ga llery nor su, helsink i

cer a mic a rt museum of sc a ndinav i a , fu le in ter nationa l cer a mic a rt museums, fu ping, china

fisk a r s design v ill age, museum fr a nz m ay er , me x ico cit y

fisk a r s design v ill age, cen tro cult u r a l cl av ijero in mor a li a , michoac á n, me x ico

k er a miik a n k e vät, ga ller i a oljem a r k, helsink i

poin t of v ie w, fisk a r s

19. in ter nationa l cer a mic bienna le, va ll au r is, fr a nce

fisk a r s design v ill age,ozone l i v ing design cen tr e, tok io

fisk a r s design v ill age, koumi-m achi kougen museum of a rt, koumi, ja pa n

fisk a r s design v ill age, medi atheque, senda i, ja pa n

sato, fisk a r s, f inl a nd

celebr ation! ga llery nor su, helsink i

fem a le for m, designmuseum, helsink i

sy vä ll ä sav essa , con tempor a ry finnish cer a mics, cr a ft museum of finl a nd, j y vä sk y l ä

cer a mega 04, the a rt cen ter of voipa a l a , va lk e a kosk i, f inl a nd

ga ler ie l’e v ènemen t, va ll aur is, fr a nce

con tempor a ry cr a ftspeople, the finnish nationa l museum, helsink i

fisk a r s co-oper ati v e, the finnish instit u te in norway, oslo

for m bet w een con tin uit y a nd innovation, museo in ter nationa le delle cer a miche in fa enz a

r etro, fisk a r s

fr ee h a nds, fisk a r s

fisk a r s co-oper ati v e, the finnish benelu x instit u te, a n t w er pen

gä sta bor det, m aur itzbergs slot ts ga ller i, v ik bol a ndet, sw eden

findesign now 02, design forum, helsink i

a lumni, k uopio a rt museum, finl a nd

10 cer a mists from finl a nd, cr a ft space mok k umto, seou l , kor e a

cer a mic sum mer , ga llery bronda , helsink i

e ating - meeting, sw eden house, brussels

gä sta bor det - pitopöy tä , fisk a r s, f inl a nd / h ä llefor s, sw eden

concert house mik a eli, mik k eli, f inl a nd, w ith k a r in w idnä s

hotels, 7. e x hibition, fisk a r s

auror a , cr a ft space mok k umto, seou l , kor e a

ga llery sep ta r i a 10 y e a r s celebr ation, helsink i

the spir it of the e a rth, fisk a r s, f inl a nd, w ith a nneli sa inio

meta mor fosis, the l a hti a rt museum, finl a nd

j ubilee, 6. e x hibition, fisk a r s

the museum of a rts cr a fts ita mi, ja pa n

ta iko 15 y e a r s, v er k a r a n ta , ta mper e, finl a nd

industr i +design=fr a mtid, h ä llefor s / koppa r berg, sw eden

finnish design 10, design forum, helsink i

sav esta sy n t y n y t, in ter nationa l cer a mic e x hibition, fisk a r s

process - 5 . e x hibition, fisk a r s

w in ter e x hibition, ga llery bau, helsink i

di a logue - 4 . e x hibition, fisk a r s

et k er a misk u ni v er s, in ter sc a ndinav i a n e x hibition, silk eborg, denm a r k

con ta iner - 3.e x hibition, fisk a r s

bruksga ller iet i f isk a r s, höga nä s museum, sw eden

a rt sa lon bell a rte,t ur k u, finl a nd, (w ith howa r d smith)

k er a mik in ter nationa l , k ü nstler h aus a m wa ssert u r m, ber lin

k er a mik in ter nationa l , römhild, ger m a n y

cer a mic 91, l aur a kor pik a i vo-ta m minen museum,l a ppeenr a n ta , finl a nd (together w ith howa r d

smith a nd zolta n popov its)

2003

2002

2001

2000

1999

1998

1997

1996

1994

1993

1991

A R T FA I R S

sf 20/21 sa n fr a ncisco 20th cen t u ry a rt a nd design show, usa , hedge ga llery

da ll a s a rt fa ir , usa , hedge ga llery

a rt fa ir , helsink i, ga llery nor su

collect, v & a , london, ga llery nor su

phil a delphi a a rt museum cr a ft show

te a f, the europe a n fine a rts fa ir , (ga ler ie philippe den ys), m a a str icht

the 11th nationa l pot tery & cer a mics festi va l , h atfield, u k

orga nizing t wo e x hibitions of finnish cer a mists in ger m a n y: in k er a mik museum

w esterwa ld a nd ga ler ie m a r i a nne heller

in ter nationa l cer a mic e x hibition in fisk a r s, ch a ir m a n of the e x hibition com mit tee

O T H E R A C T I V I T I E S

öl ä ns l a ndsting, sw eden, 2009

h a ndelsba nk en a rt societ y, sw eden 1999, 2001, 2003, 2009

design museum, helsink i 2009

fule in ter nationa l cer a mic museums, fu ping, china 2008

norther n in v estmen t ba nk, helsink i 2006

museum bojm a ns va n beu ningen, rot ter da m 2004

a str a zenec a , sw eden 1999, 2001, 2003

state a rt collection, sw eden 1999, 2001, 2003

state a rt collection, finl a nd 1997, 1998, 2000, 2002

for eign office, f ina lnd 1998, 1999, 2000, 2002

jenn y a nd a n t ti w ihur i fou ndation, rova niemi a rt museum, finl a nd 2002

vä ster bot ten cou n t y, sw eden 2001

a r a bi a museum, helsink i 1999

tä llberg a rt societ y, sw eden 1999

agor a , sw eden 1999

filh a , finnish lu ng he a lth a ssoci ation, helsink i 1998

h ä meenlinna a rt museum, finl a nd 1997

fort um a rt foudation, finl a nd 1997

höga nä s museum, sw eden 1996

museum für die sa m mlu ng k er a mik in ter nationa l , römhild, ger m a n y 1993

p y y nik inlinna , ta mper e, finl a nd 1993

pr i vate collections in se v er a l eu rope a n cou n tr ies plus ja pa n, kor e a a nd usa

W O R K S I N C O L L E C T I O N S

2011

2010

2008

2006

2005

2011

2004

a rts cou ncil of finl a nd, for orga nizing a n e x hibition in sa n fr a ncisco

finnish cult ur a l fou ndation ( a a ltonen & grou p) for orga nizing e x hibitions in ger m a n y

a rts cou ncil of finl a nd (a a ltonen & grou p) for orga nizing e x hibitions in ger m a n y

finnish cult ur a l fou ndation, 3-y e a r wor k gr a nd

the finnish state com mit tee for design, e x hibition gr a n t

gr eta a nd w illi a m lehtinen fou ndation

finnish cult ur a l fou ndation, 1-y e a r wor k gr a nd

the finnish state com mit tee for design: 1-y e a r a rtist gr a nd

a rts cou ncil of finl a nd

a rts cou ncil of finl a nd

the u usim a a cou n t y a rt com mit tee

a lfr ed kor delin fou ndation

k u nst u nd for m, e.v, ger m a n y

the finnish state com mit tee for design

the h ä me cou n t y a rt com mit tee (for wor k te a m a a ltonen - smith)

G R A N T S

R E C I D E N C I E S A N D S Y M P O S I U M S

fuping cer a mic a rt v ill age, china

cité in ter nationa le des a rts, pa r is

k er a mik in ter nationa l , römhild, ger m a n y

2011

2010

2007

2004

2002

2001

2000

1999

1998

1997

1993

1989

2008

2005

1993

td ta ide-design (a rt-design) finl a nd 1/2012 a rticle

cheongj u in ter nationa l cr a ft bienna le 2011/ cr a ft & design from finl a nd, c ata log 2011

feuer u nd eis, c ata log, 2010

lena hellström & su ne hol mberg: åter seende - second sight, himl ajor den 2009, sw eden, book

w enzel h agelsta m: huomisen a n tiik it (tomor rows a n tiqu es) pa rt 4 , w eilin & göös 2007, book

l a r e v ue de l a cér a mique et du v er r e (per iodic a l), fr a nce, a pr il 2007, a rticle

cér a mique con tempor a ine benna le in ter nationa le va ll au r is, 2006, book

fem a le for m, designmuseum, finl a nd, 2006, brouchu r e

the finnish state a rt collection, 2006, brochu r e

å sa hell a mn: a rt cer a mics in finl a nd, otava , 2004, book

museo in ter na ziona le delle cer a miche in fa enz a: for m a tr a con tin u itá et innova zione, 2003, c ata log

lena hellström, su ne högberg, ba r bro k ulv ik: gä sta bor det - pitopöy tä , 2000, book

cer a mic mon thly (per iodic a l ,), m ay 199, a rticle

t im steffa & w infr id z a kowsk i: er na a a ltonen, cer a mic a rtist 1997, brochu r e

k er a mik in ter nationa l , da s 7. in ter nationa le k er a miksy mposium in römhild, 1993, c ata log

P U B L I C AT I O N S

W W W . H E D G E G A L L E R Y . C O M

H E D G E5 0 1 p a c i f i c a v e n u es a n f r a n c i s c o , c a 9 4 1 3 3

: 4 1 5 . 4 3 3 . 2 2 3 4

: 4 1 5 . 4 3 3 . 2 2 3 3

: t u e s d a y - f r i d a y 1 1 - 6 s a t u r d a y 1 1 - 5

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