Grita Götze's ceramic work is a fascinating example of how beauty and nature can augment each other in a work of art. In the artist's clay objects, utility and decoration, shape and ornament are at par in the most natural of ways.
The artist works for weeks on these vessels. They are the luxury of quiescent time made manifest. Self-will and an astounding bravura define their unique character. There is no straying. This is a splendour that pays no heed to concepts, trends, innovations or any of the other topical issues
Educated at the renowned Burg Giebichenstein University of Art and Design Halle, the ceramicist creates highly definitive art objects that can be used, for example plates and lidded vases. But the décor, the painting with which she decorates her artefacts, lifts them out of the sphere of practicality and makes of them works of art.
Grita’s mode of practice is distinguished by a virtually anachronistic artisanal effort. To err on the side of caution, the perfectionist develops engobes and glazes in a series of tests and tries out and fires different decorative methods. Only when the hue and the desired effect match her intention does she transfers the acquired knowledge to the actual object in a long, drawn-out work process, and completes it.