Bio

Estonian-Canadian Britta Fluevog is a third-generation-matriarchal artist living in Jülich Germany. Fluevog’s MFA was completed at Emily Carr University in 2015. In 2007, Fluevog received her BFA from NSCAD University. In 2007 she established a small ceramic co-op in Ghana, West Africa.

Britta Fluevog’s work brings a strong aesthetic and material-based practice into the realm of social justice. She use weaving, ceramics, performativity and process as manifestations to expand the discourses of textiles and political art. The works of contemporary artists such as Lisa Anne Auerbach, Sara Rahbar, Tanya Aguiñiga, and Tanja Boukal, which are politically radical, influence her practice.

Through the lens of social justice and intersectionality, Fluevog’s work investigates borders, refugees, globalism and capitalism in relation to textiles and makers. Touch, texture and the handmade are explored in relationship to the maker and the performance of making. Local, industrial, and indigenous materials are explored within her work. Her ongoing interest in borders, refugees and migrants is connected to her maternal grandparents who fled Estonia when the USSR stole the country.

Organic shapes, texture, and a plethora of details in the work allow meandering investigations by the viewer and creates art that continually changes. Strong aesthetic and decorative elements in the work are employed to subvert traditional occidental devaluation of these elements particularly in relation to craft materials and women’s work. Through connection to materials and ancient practices, Fluevog aims to challenge global hegemonic capitalism, championing the value of makers.
 

CONTACT ME: britta at fluevog dot com

Shell Creature

Shell Creature 2012
 

Ridge Bowls

Blue Bowl  -  2011

Earth Bowl  -  2011

 

Green Bowl  - 2011

Reversible Platters

I've always made pottery that was just as interesting on the under side as it was on the outside. So it was natural for me to at some point make plates that had no correct bottom and top where both sides could be used as the platter side. I had been creating large serving bowls playing with the idea of inside verses outside; I was using small slabs and creating ridges where the slabs met. The ridges were smoothed with my finger creating a highly textured ridge and finger lines. The result was something that would be expected on the outside of an interesting handmade bowl. Rather then keep the quite deep texturing to the outside, I turned the pattern inside out as it were. From there it was obvious the next step was simply eliminating the idea of right side up altogether. I kept using the small slabs to create the ridges, so not only would one side have a very deep texture, but the ridges and slabs could form the structure of the platters. 

The other side

Platter 2

The other side

Ceramics 2011

Serving Bowl

Bolted Clay

Bowl

Green Bowl with Bolt

2006