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PRESS RELEASE 28.03.2015




“The idea for this exhibition came into being after I came across the book Seeds*. Seeds, which are only a few millimetres in size, are magnified a thousand times and in this way open up to us a mysterious world that cannot be seen with the naked eye. These artworks inspired me with their colourful sculptural forms – rich in fantasy and invisible to the human eye.


Seeds are drifting capsules, or vessels, that travel through space-time. Each plant seed conceals the code for that plant, the purpose of which is to reproduce and disseminate. Seeds are the pillars of human civilisations. Life on earth depends on the food reserves in seeds. Life begins with a seed.


The world of plants has, throughout time, been closely related to art and architecture, and is opening up ever more with the advancement of technology. With the help of electron microscopes, it is now possible to see the complexity and multifaceted nature of the structures and forms of seeds. The photographs of the seeds in this book seem as if they are borrowed from the mystical beyond; they evoke a desire in the viewer to find out more. Art has the role of a mediator that nourishes the imaginative potential of recognition. Wherever the discoveries made by new technologies take us next, the world of seeds, with its multiplicity of forms and surface qualities, is an affirmation of the fact that nature – being in a constant process of change – as a source of inspiration, is also a challenge in our creative work.


The astonishing beauty and variety of seed forms presented a new challenge to me as an artist and I started finding solutions to this in ceramics. I decided to use paper clay and paper porcelain – materials I had had previous experience with. The entire working period in preparation for the exhibition was full of experimentation with colourful materials and different textures.”

Paper clay is a relatively new material whereby paper is mixed into different types of clay. As a result, the paper clay mixture can be easily moulded, the artworks are noticeably lighter in weight, and with its additional characteristics, the material is well-suited for moulding large installations as well as delicate sculptural forms. Therefore, in addition to its potential for moulding, the paper clay technique offers a wide variety of decorative and accentuated expressive possibilities.

Colourful paper clay and paper porcelain are the result of colour pigments added to the clay or porcelain mixtures.


Annika Teder (born in 1952) graduated from the State Art Institute of the Estonian SSR in 1977 and following that worked for close to 10 years at the Tallinn Construction Ceramics Factory. She has been a freelance artist since 1985, and a long-serving lecturer at the Ceramics Department of the Estonian Academy of Arts.

While Teder had been rather assuredly centred on geometric and clear forms for a long time, thematically her forms have often been bound together with subjects from nature and its processes.
As an artist with an exploring nature, it is characteristic of her to also take on technological challenges. For example, she has worked in the nerikomi technique and played with pure forms, free of embellishment. Recently, she has focused on paper clay and paper porcelain.
Teder is a member of the Estonian Artists’ Association (since 1986), International Academy of Ceramics (since 1992) and the “ON” Group (since 1994). Since 1980 she has exhibited in the annual Estonian applied arts exhibition and with the “ON” Group. In addition, she has participated in numerous group and solo exhibitions abroad (in Japan, Korea, Russia, Italy, Germany, Austria, Croatia, USA, Canada, and the Dominican Republic).

She has work in the collection of the Estonian Museum of Applied Art and Design, as well as many other museums and private collections across the world.

*Seeds: Time Capsules of Life, 2006, Rob Kesseler, Wolfgang Stuppy, Alexandra Papadakis

Exhibition Design: Tea Tammelaan
Exhibition supported by the Estonian Cultural Endowment


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