prêt-à-porter
The theme of Ruth's exhibit prêt-à-porter takes us to new unknown galaxy of arches spanning over unknown horizons, light footed, ruffled skirts dancing in the light, and vases which blossom on their own.
Ruth van Eck-Rotholz, (1956, New York City), is both an American and a Dutch citizen. Ruth has a broad interest in creative art being active in architecture, music, and ceramics. She received her academic, music, and ceramics education in the USA ( B.A. arts, M.A.L.S music, M.Arch,. architecture) .
She has been professionally active as architect in the USA, Israel, and The Netherlands. She pursued her ceramics education in both the USA and in The Netherlands. In architecture, her focus includes designing flowing space using the natural light as her most important material.
Being active professionally in both architecture and now again in ceramics, she has the opportunity to combine her two disciplines experimentally, always designing forms, and spaces using materials that make us aware of the changing light.
Ruth presents us her experimentation using the potter’s wheel, the sewing machine, and the pull of the earth to form her designs combining textile and clay. It is the beauty of allowing the laws of Nature to participate in the making of her work from her guiding hands.
The theme of Ruth's exhibit prêt-à-porter takes us to new unknown galaxy of arches spanning over unknown horizons, light footed, ruffled skirts dancing in the light, and vases which blossom on their own.
Ruth van Eck-Rotholz, (1956, New York City), is both an American and a Dutch citizen. Ruth has a broad interest in creative art being active in architecture, music, and ceramics. She received her academic, music, and ceramics education in the USA ( B.A. arts, M.A.L.S music, M.Arch,. architecture) .
She has been professionally active as architect in the USA, Israel, and The Netherlands. She pursued her ceramics education in both the USA and in The Netherlands. In architecture, her focus includes designing flowing space using the natural light as her most important material.
Being active professionally in both architecture and now again in ceramics, she has the opportunity to combine her two disciplines experimentally, always designing forms, and spaces using materials that make us aware of the changing light.
Ruth presents us her experimentation using the potter’s wheel, the sewing machine, and the pull of the earth to form her designs combining textile and clay. It is the beauty of allowing the laws of Nature to participate in the making of her work from her guiding hands.