0
Select Page

In a fast-moving world filled with cheap goods galore, handmade ceramics is the absolute opposite. What drew you to this field, and is it sometimes difficult to maintain the belief and excitement in the essence of slowness and contemplation?
The slowness and contemplation were the reason I initially got drawn to the medium.
Living in a world with a lot of distractions, I have always wanted to pause, slow down and be mindful. And sculpting the wet porcelain with my bare hands allows me to go into a form of meditative state that takes me away from the everyday trivial distractions.

The spikes are a recurring theme in many of your works. They obviously have both a visual and tactile purpose – can you elaborate on what they represent to you?
I want to give the user of my objects a sensory experience, both visually and tactile instead of just a functional item.
Instead of a dinner being just an experience of tasty food, I try to add another dimension. I try to elevate the sensory experience of how it feels, holding and eating out of a bowl or a plate, an experience we never notice and takes for given.

When I make the spikes, I prepare the object that needs decoration. The clay needs to have certain wetness when applying the spikes. It can’t be too wet or too dry; otherwise, the spikes will fall off or runoff. Then I prepare liquid porcelain and apply each spike with a drop of the porcelain. One by one. It’s a long and slow process but to me it’s meditation through repetition. 

Are your works based on sketches, or do they grow out of the process of working with the clay and porcelain?
I often feel relying too much on sketching and think objects end up feeling too one-dimensional, so I usually rely on a bit of both.
In general, It’s a very free and unpredictable process. Sometimes I sketch the idea, but it’s first when I start sculpting in the wet material that something starts to form, and this process often takes me in unexpected directions. 

Your main body of work is distinctively white. You’ve said you have just recently started to incorporate colors. What initiated the transition and what does it mean to you?
I love to work with white because it gives all attention to shape and material.
For me, it’s about not playing with all the ingredients at the same time, but figure out how I can get the most out of each element.
It’s difficult for me to add colours, but I’m trying to push myself into the unexpected territory; however, it’s a bit too early to say if it’s something that will pay off. 

When and how did Japan become an inspiration to your work?
Japan has never been a direct source of inspiration. But I can see how you can draw those parallels. But I evenly think you can draw Scandinavian parallels.
I’m sure there is both a bit of Scandinavian Japanese aesthetics that influence me on a subconscious level. But when making new objects, I don’t think in those ways; I simply make my ceramics as I feel works best.

You are Danish and live and work in London. England has a long tradition in working with porcelain. Is that something you draw on in your creative process?
Not really. The English tradition is a lot around clay and throwing and standardising objects and mass-production. Mine is about hand-building and making unique items.

Your work consists of both artworks and functional objects. What drives the creation of one or the other?
Often it is the abstract work that inspires my functional items, and sometimes it’s the mistakes making my tableware that informs my artworks. But in general, when it comes to my artwork, I like to let go and let the clay and my mood shape the object.

Your work for Frameworks Gallery – tell us a little about it?
I worked with the pieces as 3-dimensional collages. I used both wet and fired porcelain as well as other materials such as plaster and stone.
Working with clay, and especially porcelain is a long process where a lot of things can go wrong before you have your final product. Porcelain is a temperamental material. It warps and cracks easily; opening the kiln is always nerve wracking.
The works that I made for Frameworks Gallery are more playful because the objects didn’t have to go through the whole process of making, glazing and firing, which allowed me to explore different materials and compositions.

See Artist Bio