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6 pieces by Vladimir Böhm
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A Room of One's Own
Black cube I
Black vessel I
Flower of my Secret
Square Rooms
White Trays
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Vladimir Böhm Applied Art
Vladimir Böhm uses precious metals including gold and silver, to which he applies glass enamel in iridescent colours. The enamel transforms the unusual vessels into individual and unique objects. He has won a number of prizes from Guilds, professional organizations and the media. His work has been exhibited at Sotheby’s, Yorkshire Sculpture Park, the Crafts Council, Ueno Royal Museum in Tokyo, as well as in Germany, South Korea, Spain, France, Ireland and United States. It is in the collection of Victoria and Albert Museum, Calouste Gulbenkian Foundation, 401 Collection and Aberdeen Art Gallery.
2001 MA SJAC, Sir John Cass School of Design, Metropolitan University, London, UK
1998 BA Hons SJAC, Sir John Cass School of Design, Metropolitan University, London, UK
2004 The Worshipful Company of Goldsmiths, Best New Merchandise at Goldsmiths’ Fair 2004
2002 Evening Standard Award for the Best Domestic Product at Chelsea Crafts Fair 2002
1999 Commended by the Craft Council of the Worshipful Company of Goldsmiths
1998 The Worshipful Company of Goldsmiths, 2nd Prize for Enamelling
Selected Commissions/collections:
2006 Victoria and Albert Museum, London, UK
2004 Aberdeen Art Gallery, Aberdeen, UK
2003 Calouste Gulbenkian Foundation, London UK / Lisbon, Portugal
2002 401 Collection, Elmsfield Manor, Elmsfield, Oxfordshire, UK
Group Exhibitions:
2007 Kultur im Keller, Alter Gießerei, Munich, Germany
Finnish Craft Museum, Jyväskylä, Finland
Finnish Arts and Crafts Centre, Kenkävero, Finland
Silver Exhibition, Blackwell Art Gallery, Bowness-on Windermere, UK

2006 Everyday, Flow Gallery, London, UK
Collect Collections, Lesley Craze Gallery, London, UK
Original Collection, Quest Gallery, Bath, UK

2005 Modern Masters, Internationale Handwerkmesse, Munich, Germany
In Person / In Print, Thomas Riley Gallery, Cleveland, Ohio, US
Caught my Eye, The Sheridan Russel Gallery, London, UK
World of Enamelling, Salou, Barcelona, Spain
Eastern Cool, Quest Gallery, Bath, UK
Hide and Reveal, CICB, Cheongju City, South Korea

2004 Bowled Over, Studio Fusion, London UK
Made in Britain, Contemporary Applied Arts Gallery, London UK
Fire-Works, The Museum of Oxfordshire, Woodstock UK
Artist of the Month, Bluecoat Display Centre, Liverpool, UK

2003 Yorkshire Sculpture Park, West Bretton, Wakefield, UK
GIRAEFE Exhibition, Morez, France
On the Edge, 9th International Enamel Exhibition, CCG Portland, Oregon, US
Focus, Contemporary Applied Arts Gallery, London, UK
Sotheby’s Contemporary Decorative Arts Exhibition 2003, Sotheby’s, London, UK
Vessel, Romney Marsh Gallery, Lydd, Kent, UK

2002 36th International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan
Contemporary Glass on Metal, The Oxfordshire Museum, Woodstock, UK
Artist's Statement:
The act of making is crucial to my way of thinking. I try to use simple techniques imaginatively in order to push my chosen medium of further and to compose visually the sense of intimacy. In the conventional sense, my work may sometimes seem unfinished. However, this stage of ‘unfinishedness’ is carefully chosen. Indeed, it is often hardest to know where to leave off.My intention is to ‘arrest’ the process of making in an actual piece. This reflects my perception of creativity as the human way of negotiating the constantly evolving world in which we live. It is not the mimetic sense of revealing the ‘perfection’ of aesthetic form or reflecting the ‘real’, which is of interest to me. Rather it is the act of abstract making as a way of begetting the world…Deleuze once remarked that ‘thinking is not something we do; thinking happens to us’. Therefore, if there is a necessity to thinking, the event of thought lies beyond the autonomy of choice. Thinking happens. At the same time, this necessity is affirmation of chance and freedom – we are not constrained by a pre-given end… The true freedom lies in affirming the chance of events in the act of making, not our ‘mastery’ of the creative process (which is nothing more than a limited perception we have of it). Intention is important to my understanding of the creative process but not will. Willing involves manipulating and places us in an impossible position of responsibility. It is better to lay the centre without…
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