The announcement of the Loewe Craft Prize 2023 winner, held at the depths of the Palais de Tokyo, was met with a surprising introduction. The guest presenter, comedian Gaby Plaza, introduced the winner with a lighthearted jest, addressing Jonathan Anderson, the founder of the Loewe Foundation, as “Jar Jar, my best friend,” eliciting laughter from the audience.
Plaza then proceeded to reveal the recipient of the night’s €50,000 award: Mexican ceramicist Andrés Anza. Reading a statement from the 12-person jury, Plaza conveyed their rationale for selecting Anza’s piece, titled “”, as the standout work from this year’s exhibition. The jury extolled the totemic ceramic sculpture’s “arresting and almost human presence” and its skillful amalgamation of “ancient archaeological forms” with an “almost post-digital aesthetic.”
Plaza added her own observations, noting the humorous aspect of the sculpture, suggesting that “there’s someone hiding inside and looking at me.” This marriage of seemingly disparate elements, imbued with a touch of knowing humor, epitomized the essence of this year’s Craft Prize.
Anza’s bulbous ceramic, covered in thousands of tiny spikes resembling cactus bristles or the surface of an exotic fruit, defied easy categorization, embodying both animalistic and plant-like qualities. This interplay of unexpected combinations of form and material was a recurring theme among the participating makers. “This time, there was a lot of mixing of media—taking two different types of traditional crafts and blending the two, which I think is something we haven’t seen a lot of before,” commented Anderson.
The special mentions (expanded from two to three this year) were bestowed upon: Japanese maker Miki Asai for her exquisite miniature vases meticulously crafted from splinters of eggshell and seashell; French designer Emmanuel Boos for his crowd-pleasing stackable brick coffee table; and Korean artist Heechan Kim for his mind-bending cloud-like sculpture made of ash wood stitched together with copper wire. Each piece showcased a masterful balance of playfulness and precision.
“It was interesting to see so many of the artists take these organic forms, and mix them with these more regimented forms,” said Anderson.
Earlier in the day, Anderson shared his thoughts on the significance of the Craft Prize in fostering dialogue and pushing the boundaries of craft. “Everyone has their own personal choices, of course, but you have to leave that at the door a bit. You have to try and see it from every different viewpoint.”
The jurors’ decision to expand the special mentions reflected not only the quality of the applicants but also the sheer diversity of contemporary craft. “It feels like a nice cross-section,” said Anderson. “To think that we had almost 4,000 applications this year… it’s kind of insane.” This surge in interest in craft is a testament to its growing prominence, with major institutions and collectors recognizing the value of works that were often overlooked in the past.
Anderson himself recalled a pivotal moment early in his career when he acquired a Lucie Rie salad bowl at auction, igniting his passion for collecting. “Now, it would be impossible to pick up a piece of hers that easily,” he said. “There’s a different appreciation of these objects—not just in the commercial sense. There’s been a real change in how we see the hierarchies of these artistic practices.”
Anderson’s own curatorial approach, such as his groundbreaking “Disobedient Bodies” exhibition, has played a significant role in popularizing the showcasing of different disciplines alongside each other.
The discovery of the 30 artisans’ work, shortlisted by the selection committee, was unveiled at the Palais de Tokyo galleries, where individual pieces engaged in a dynamic dialogue, curated by the Loewe Foundation team.
Two standout baskets, positioned against a wall of shimmering silver tiles, demonstrated the harmonious interplay between artists of different backgrounds. Jeremy Frey, an Indigenous American basket weaver, and Polly Adams Sutton, who primarily works with materials from her current home state of Washington, created pieces that complemented each other perfectly. Frey’s elegant lidded basket showcased the refined techniques of ancestral Wabanaki weaving, while Adams Sutton’s undulating cedar wood creation added a touch of playful asymmetry.
Cape Town-based artist Patrick Bongoy’s work offered a unique blend of recycled materials, transforming vehicle upholstery into an eerily elegant woven leather tapestry. Malian artist Ange Dakouo presented a deeply personal tapestry, “Harmony of Grisgris,” made from folded newspaper briquettes, reminiscent of his father’s work as a printer, adorned with cowrie shells—a traditional West African talisman.
For Jonathan Anderson, the recurring theme of opposites attracting in this year’s Craft Prize speaks to the future of craft. “I think it lies in technology,” he says. “People are fascinated by watching people make things. I think people find it therapeutic. I never thought that technology would have helped this, but I think there is an innate curiosity within society at the moment for us to reconnect with the making process, and understand why we perceive value in something. This I think is going to help craft ultimately, even if you’d think it would be the opposite.”
This compelling contradiction is a testament to Anderson’s own fascination with the unexpected, propelling the evolution of contemporary craft into uncharted territories.
