I create vessels and three-dimensional collages using ceramics. My exploration is the encounter between contrasting materials, processing techniques, structures and images, which I relate to each other both associatively and intuitively. I am passionate about the processes of creation. On the one hand, these are subject to factors beyond my control, such as the mixture of glaze and porcelain melting over the ceramic structures during the firing process, leaving specific motifs in its wake. On the other, they are controlled very precisely with carvings in coordination with surrounding images.

Combined with haptic glazes and reliefs, the photographic image plays an important surface role. The photographs from my everyday life as a designer and traveller convey a mood, a memory or factual information. The heat in the kiln causes these images to be permanently burnt, faded and sometimes even twisted or warped. The resulting details reveal small worlds and scenes, and set the stage for fantasies.

Despite obvious contrasts in structure and material, it is my intention to create holistic entities redolent of a kind of harmony. They offer to the eye of the observer a visible animation of the material, a poetic elsewhere.

I create vessels and three-dimensional collages using ceramics. My exploration is the encounter between contrasting materials, processing techniques, structures and images, which I relate to each other both associatively and intuitively. I am passionate about the processes of creation. On the one hand, these are subject to factors beyond my control, such as the mixture of glaze and porcelain melting over the ceramic structures during the firing process, leaving specific motifs in its wake. On the other, they are controlled very precisely with carvings in coordination with surrounding images.

Combined with haptic glazes and reliefs, the photographic image plays an important surface role. The photographs from my everyday life as a designer and traveller convey a mood, a memory or factual information. The heat in the kiln causes these images to be permanently burnt, faded and sometimes even twisted or warped. The resulting details reveal small worlds and scenes, and set the stage for fantasies.

Despite obvious contrasts in structure and material, it is my intention to create holistic entities redolent of a kind of harmony. They offer to the eye of the observer a visible animation of the material, a poetic elsewhere.

Collaboration with the photographer Katharina Lütscher.

Poster to buy.

Openwork ceramic pieces – plastic baskets. In search of a solid material to add to porcelain pieces I came across cheap plastic baskets manufactured industrially with similar structural principles such as those mentioned above. The baskets become flexible by partially cutting them out and letting them adapt to porcelain bowls using simple techniques such as inserting, tightening and fitting their structures.

In the 17th and 18th centuries it was common to produce splendid and curious table decorations made of sugar tragacanth for dinner receptions in order to excite the imagination and to inspire the conversations among the guests. Sugar tragacanth objects look similar in appearance to the noble and in those days not yet manufactured porcelain.

In the middle of the 18th century, porcelain gradually replaced the highly appreciated, rather fragile, table decorations out of sugar tragacanth which with the commercialisation of sugar-beet was no longer valuable. In this regard it was my intention to produce the long forgotten sugar tragacanth and to display it in interaction with its former competitor, porcelain.

I use the patterns of openwork porcelain pieces to press sugar tragacanth through them. I leave some processes to chance, others are controlled and stopped deliberately using varied devices. The original porcelain structure is the starting point of the tragacanth formations.

I create vessels and three-dimensional collages using ceramics. My exploration is the encounter between contrasting materials, processing techniques, structures and images, which I relate to each other both associatively and intuitively. I am passionate about the processes of creation. On the one hand, these are subject to factors beyond my control, such as the mixture of glaze and porcelain melting over the ceramic structures during the firing process, leaving specific motifs in its wake. On the other, they are controlled very precisely with carvings in coordination with surrounding images.

Combined with haptic glazes and reliefs, the photographic image plays an important surface role. The photographs from my everyday life as a designer and traveller convey a mood, a memory or factual information. The heat in the kiln causes these images to be permanently burnt, faded and sometimes even twisted or warped. The resulting details reveal small worlds and scenes, and set the stage for fantasies.

Despite obvious contrasts in structure and material, it is my intention to create holistic entities redolent of a kind of harmony. They offer to the eye of the observer a visible animation of the material, a poetic elsewhere.