Brussels transformed into a vibrant hub for contemporary ceramics as it hosted the much-anticipated second edition of Ceramic Brussels.
Set against the storied backdrop of the Tour&Taxis venue, the fair flourished within the Gare Maritime area, where early 20th-century industrial architecture met the pulse of modern creative expression.
As the only international art fair solely devoted to contemporary ceramics, Ceramic Brussels has carved out a vital niche in this artistic realm.
Exhibition Highlights
Traditionally, clay’s role was often limited to a preparatory medium for more durable sculptures in materials like bronze and stone.
It was only later that artists began to discover and embrace clay’s artistic potential, recognizing its versatility and expressive capabilities.
This year’s fair welcomed over 17,000 visitors over five rewarding days, underscoring a growing public interest in contemporary ceramic art.
A diverse mix of enthusiastic attendees filled the space, fostering connections among ceramic aficionados from all walks of life.
A highlight of the exhibition was the display of the 2025 Ceramic Brussels Art Prize winners, who presented groundbreaking works that expanded the narrative horizons of contemporary ceramics by intertwining various artistic disciplines.
Visitors entered through two strikingly arranged halls adorned with pristine white walls, where they encountered the thought-provoking art of guest of honor, Elizabeth Jaeger.
Her bold arrangements of animal figures prompted viewers to dig deeper into their interpretations; a stunning collection of luminescent insects, for instance, sparked a complex blend of fascination and unease.
Artistic Diversity and Innovation
The event showcased over 60 exhibitors, including renowned galleries and publishers, bringing the vibrant spirit of the ceramic art scene to life.
Building from the success of its inaugural event, this edition featured classical modernist ceramics; the esteemed Helene Bailly gallery from Paris displayed works by Pablo Picasso, while Galerie Anne Sophie Duval’s solo exhibition dedicated to Vassil Ivanoff further enriched the dialogue between historical and contemporary pieces.
Brussels’ own La peau de l’ours introduced Rémy Pommeret’s animal sculptures, seamlessly blending lifelike forms with Art Nouveau influences, resulting in an enchanting, surreal aesthetic.
Animals emerged as a recurring motif throughout the displays.
Lefebvre & Fils in Paris introduced pieces by Héloïse Piraud that abstracted animal forms into mythical narratives.
The Sèvres porcelain manufactory showcased the work of artists Bachelot and Caron, who reinterpreted traditional designs into novel objects featuring inventive combinations and modern decorative elements.
Their collection beautifully balanced delicate classic vessels with raw, organic shapes, creating a rich sensory experience.
Clémence van Lunen’s ceramic curtains at Galerie Polaris evoked layered textures reminiscent of the paintings by Lucian Freud and Frank Auerbach.
Helena Hafemann’s interlinked stoneware plates at Galerie Jarmuschek + Partner further illustrated the marriage between textile aesthetics and ceramic craftsmanship.
Future Directions in Ceramics
Among the standout artists at the Ceramic Brussels Art Prize was Luna-Isola Bersanetti, who created “Reptilians,” integrating textiles to serve as a second skin to ceramic elements alongside performative videos, vividly bringing her work to life.
By treating ceramics as a medium for interactivity, she opened doors to future possibilities—though only a handful of cross-disciplinary pieces were displayed.
Similarly, Camilla Hanney delved into themes of anatomy, intertwining traditional ceramics with provocative expressions that engaged with ideas of femininity and sexuality through her sculptural works.
Raphaël Emine crafted an installation that juxtaposed nature with technology, showcasing a remarkable fusion of traditional modeling techniques and 3D printing, resulting in forms that appeared almost dreamlike.
Although the representation of 3D printing in ceramics was modest, interest in this technique continues to bloom among a growing community of artists and designers.
On the topic of sustainability—a vital concern in today’s ceramic arts—the discussions at this year’s fair could have delved deeper.
Galerie Lélia Mordoch presented intriguing vessel designs featuring 3D printing from artists such as Miguel Chevalier and Jonathan Keep.
Meanwhile, the Copenhagen-based Peach Corner Gallery showcased a variety of approaches to clay, spotlighting five Scandinavian artists, including Hilda Piazzolla, whose playful pieces drew connections between the personal and the digital realm.
Their creations often incorporated intricate ribbed patterns inspired by mathematical principles, highlighting the delicate balance of tradition and innovation in ceramic art.
The collection of vessels by Jacques Monneraud at Arsenic Galerie caught many eyes, with stoneware and enamel crafted to mimic cardboard’s appeal.
Michel Gouéry’s figures, grotesquely twisted yet fascinating, also drew attention, while Hattori Makiko’s “Crouched (2023)” enveloped its forms in delicate porcelain ribbons, forming intricate rosette patterns that beckoned viewers to reach out and explore.
Jun Kaneko, renowned for his large-scale sculptures, won the award for best solo show.
His exhibition, presented by the Sorry We’re Closed Gallery, featured a dynamic range of wall-mounted ceramics and monumental pieces embellished with striking geometric designs, capturing the perfect blend of material mastery and visual abstraction.
Ceramic Brussels 2025 shone a light on Norwegian ceramics, fostering collaboration with Norwegian Crafts and featuring five local galleries.
These events included panel discussions and exhibits showcasing around 20 innovative artists.
Though Norway’s ceramics have a relatively short history in the arts, they have gained traction in recent years, establishing a vibrant presence in contemporary art.
Experts often describe Norwegian ceramics as playful, irreverent, and sculptural.
The QB Gallery in Oslo displayed captivating works by Nellie Jonsson, whose whimsical creations resembling cakes and fruits were adorned with quirky details like teeth and hair clips.
Format in Oslo presented established ceramists such as Pauliina Pöllänen, whose fragmented human forms revealed ceramics’ expressive potential, along with the works of Torbjørn Kvasbø and Eyvind Solli Andreassen.
Ann Beate Tempelhaug’s painterly ceramics also garnered attention amidst Spazio Nobile’s exquisite exhibition.
Ceramic Brussels 2025 reaffirmed the essential role of ceramics in contemporary art, skillfully weaving together the threads of the past and present.
With a broad array of artistic approaches—from traditional craftsmanship to avant-garde experimentation—the event celebrated the medium’s timeless appeal and its boundless possibilities for future innovation.
Source: Ceramicsnow