My handwriting is characterized among other things by looking for contrasts within the work. Because of the contrasts the work gets interesting. Examples of these contrasts are: sober vs. richness; sturdy design versus delicate thin objects; translucent skin of porcelain versus the hardness of this material; rough mat surfaces versus smooth shiny surfaces.
aes t h e t i c
In addition to the contrasts in the work aesthetic is a signature element. This is partly reflected in design and color. The work has a certain fragility and elegance. Yet this should not be the goal.
My preference for a subtle color palette is reflected in the colors that blend. The undertone of the work is reflected in the rest of the color palette: no significant color contrasts, but complementary colors. Thus the need arose for me to develop my own glazes; terrestrial subtle colors that blend together. Not a solid plain skin but here and there thin applied glaze and other places thick and pasty. Clearly handicrafts. By working with oxides, it is possible to achieve beautiful natural color shades. Because all the recipes are developed in my own studio, the detailed color palette is completely aligned and fits all objects together.
Playing with the technical possibilities offered by ceramics is a challenge for me. That’s why i try to work as thin as possible for instance. That means a lot of work is killed during the process. Firing ceramics is a very chemical process and the ceramics get fragile because of the enormous heat (up to 1300 degrees). However, when the objects survive the stoke, it is a victory. And in my view, the result is at its best when the ceramic is thin.