CV
| Alongside work in ceramics, engagement with print techniques such as lithography and etching | |
| Since 2010 | Continuous training and interest in jazz piano in the area of improvisation and arrangements living and working since 1987 in Gauting near Munich, DE |
| 1996 | Workshop, lectures at ceramics technical school Landshut |
| 1975-1986 | own studio in Lochham • Participation in international ceramics symposiums in Austria, Sweden, Israel, Poland |
| 1970-1975 | Munich, studio with Barbara Schwämmle |
| 1965, 1967 | Birth of Johanna and Laurenz |
| 1965 | moving from Vienna, AT to Munich, DE |
| 1956-1961 | Student University of Applied Arts, Vienna • 1961 Diploma of Fine Arts |
| 1935 | Born in Vienna, Austria |
| Memberships: | BBK, D; AIC, Geneve, CH; Kunstverein Gauting, D founding member of the Gruppe 83, D |
works in museums and collections
- Athen GR, Benaki-Museum
- Berlin D, Kunstgewerbemuseum
- Brüssel BE, Musées Royaux d´Art et d`Histoire
- Coburg D, Sammlungen der Veste
- Dresden D, Kunstgewerbemuseum
- Düsseldorf D, Hetjens-Museum
- Frechen D, Keramion
- Genf CH, Musée Ariana
- Höhr-Grenzhausen D, Keramikmuseum
- Jönköping SE, Länsmuseum
- Karlsruhe D, Badisches Landesmuseum
- Köln D, Museum für Angewandte Kunst
- Landshut D, Museen der Stadt (Sammlung Strasser)
- Leipzig D, GRASSI Museum
- München D, Bayerische Staatsgemäldesammlungen
- Prag CZ, Kunstgewerbemuseum
- Saga JP, Kunstmuseum
- Sögel D, Emslandmuseum
- Stuttgart D, Württembergisches Landesmuseum
- Wenatchee US, N.C. Washington Museum
- Wien AT, Kulturamt der Stadt
- Private Collections
Elisabeth Schaffer freely constructs her sculptures and vessels from slabs. She demands a great deal from the material, without forcing it, following its signals with gentleness and concentration throughout the creative process, which can still be traced and experienced in the finished object. Initially it was the play of light and shadows in cutting and printing reliefs that fascinated her.
Today she works primarily with rolled-in clay- and porcelain inlays. The raw, unglazed body emphasizes the solidity of the stoneware, the cuts and cracks point to the fragility of the biscuit porcelain. The sensitively modulated irregularities in the surfaces with contrasts in light and darkness give rise today to corpora of restrained living corporality.
Hans-Peter Jakobson, Museum für Angewandte Kunst, Gera (Catalog 2003)
See some of my recent works or from the archiv over time