Since September, our work has been presented as part of Czuły Punkt Widzenia, an exhibition at the Design Institute in Kielce dedicated to time, attentiveness and our relationship with crafted objects. Curated by Monika Osinkowska, the exhibition brings together contemporary makers and designers whose practices explore the ways in which objects change, age and accumulate traces of use.

The exhibition is on view from 4 September to 22 November 2026 at the Main Gallery of the Design Institute in Kielce, Poland.

 

Contemporary craft, time and materiality

Can an object remember?

"Czuły Punkt Widzenia" looks at craft through the perspective of time, asking what happens to an object once it leaves the studio and enters everyday life. Scratches, cracks, stains, repairs, patina and other traces of use become part of its history. Rather than being treated as imperfections, they can reveal the relationships that develop between people, materials and objects.

The exhibition explores craft as a record of time — a process in which the object continues to transform long after it has been made. Wood darkens, ceramics crack, metals develop patina. Time itself becomes a co-author of the work.

 

Tenderness as attentiveness towards objects

The curatorial concept of "Czuły Punkt Widzenia" draws on the idea of tenderness in relation to material culture and craft. Here, tenderness is understood not as sentimentality, but as a form of attentiveness — a willingness to look closely, touch, use, repair and observe.

An object can be valued not only for its original form or the skill involved in making it, but also for everything that happens afterwards: the marks left by the hands that use it, the changes caused by time, and the repairs that allow it to continue its life.

For us, this approach is closely connected to the way we think about ceramics.

 

Huba ceramics at Czuły Punkt Widzenia

For the exhibition, we present two bottles: 

Bottle 142/23

MATERIAL
Stoneware, porcelain slip coated with pine-ash glaze

TECHNIQUE
Slab-building technique, wood firing

DIMENSIONS
H. 15 cm, W. 11 cm, D. 5 cm

Beneath the layers of porcelain slip and glaze, the reddish clay remains visible. The glaze creates a delicate, characteristic pattern of flowing streaks across the surface, revealing subtle variations produced during the firing process.

The cracks that appeared during firing were repaired using kintsugi, with a mixture of Baltic amber and pine resin applied hot, and finished with 22-karat gold leaf.

Bottle 176/23

MATERIAL
Dark stoneware, porcelain slip coated with an amber glaze made from local stone and pine ash

TECHNIQUE
Slab-building technique, wood firing

DIMENSIONS
H. 16 cm, W. 10 cm, D. 5 cm

The dark stoneware body remains subtly visible beneath the layers of porcelain slip and amber glaze. The glaze forms a delicate, characteristic pattern of flowing streaks across the surface, revealing the movement of the material during the wood-firing process.

The cracks that appeared during firing were repaired using kintsugi, with a mixture of Baltic amber and pine resin applied hot and finished with 22-karat gold leaf. Rather than concealing the traces of the firing process, the repair preserves them as an integral part of the vessel's surface and history.

 

Kintsugi — preserving the trace

Kintsugi is an important part of our approach to the life of an object. Rather than concealing damage, the technique acknowledges it and incorporates it into the object's continued history.

In this piece, the cracks formed during the wood firing are not erased. They remain visible as part of the vessel, transformed through a repair made with locally meaningful materials and finished with gold.

The combination of Baltic amber, pine resin and gold creates a repair that is both physical and symbolic. The break becomes another layer of the object's material history.

 

Ceramics as a record of time

Our work begins with material and remains closely connected to the places where that material comes from. We work with local clays, sands, stones and wood ash, exploring how these materials can influence the surface, colour and character of our ceramics.

Wood firing adds another element of unpredictability. Over many hours in the kiln, flame, ash, heat and atmosphere interact with the surface of each object. The final result cannot be completely controlled.

For us, this is an essential part of working with ceramics. The firing is not simply the final stage of production — it is a process in which the material continues to change and in which the kiln becomes an active participant in shaping the work.

 

The object as a carrier of memory

We see our objects as things that can accumulate meaning over time.

A ceramic vessel can begin as a material gathered from a particular place, shaped by hand and transformed by fire. Later, it becomes part of someone's home, a daily ritual or a collection. It can be touched, used, repaired, moved and eventually passed on.

Each of these moments leaves a trace. 

This understanding of the object is at the heart of "Czuły Punkt Widzenia" and resonates strongly with our own approach to contemporary ceramics. We are interested in objects that do not remain static, but continue to change through contact with people, materials and time.

 

Czuły Punkt Widzenia in Kielce

Presented at the Design Institute in Kielce, "Czuły Punkt Widzenia" brings together different approaches to contemporary craft while asking a simple but important question: how do we look at the objects that surround us?

For us, taking part in the exhibition is an opportunity to present ceramics not only as finished objects, but as material records of processes, gestures and encounters.

The exhibition is open until 22 November 2026 at the Design Institute in Kielce.

CZUŁY PUNKT WIDZENIA
4 September – 22 November 2026
Main Gallery, Design Institute in Kielce
ul. Zamkowa 3, Kielce, Poland
Curator: Monika Osinkowska

Photos: Matylda Polak