Clay's properties are sensual, easy to manipulate, offering many finishes. Clay is mostly seen in a craft context. I am not looking for that.
In my clay works abstract sculptural forms develop out of a wild, often accidental growth. An underlying structure of discharged, defunct vessels, form the ‘underground’ basis of free evolving shapes, where add-ons are moving with a flow . Like out of the shambles my works emerge from many ‘accidents’. New defining parts emerge purpose free, holding the shambles together. A process of destructions and rejoining, adding and loosing through demolition create a thing which survived several attacks and definition.
Loosing most control while I brake the ceramic, destroying the existing form, I then bring together what might not belong together. Parts are lost for good, fragments survived. Stability lies in the details. Rejoining the parts leaves splintered edges open. It is sharp, it hurts . The work shows destruction and vulnerability and an acceptance of the odd ‘result’. It is an open process, where one can find even loose fragile parts. In my work I am the collector, destroyer and mender, healer and joiner.
Out of immediacy a new form emerges: To start off, I am interested in an immediate reaction, an emotion. After the first steps of adding shapes and forms the sculpture becomes a unique phenomena, making an entirety out of single shapes and forms. In finding its general form, its unique shape, I need to listen to its possibilities. Interested in a neutral , maybe accidental context, where a form develops and grows. Here after the firing the work is attacked ,shatters fly. I manipulate the material into a direction, respond to found aspects and its limitations . A composition is hard to see, its rather a growth, a movement- an absence of order. Beauty might emerge.