Comment avez-vous commencé la céramique ?

I studied product design where I learned different techniques like glass blowing, basketry, textiles, ceramics, metallurgy, cabinet making etc. and did workshops with craftsmen in different countries like the Netherlands, France, Finland and Germany. After completing my studies, I moved to Berlin to learn more about the art of ceramics. I had the opportunity to work with an industrial porcelain designer named Anna Badur and was then able to teach students in a smaller, shared workshop. After one year, I decided to create my own studio to make my pieces in greater numbers and also to teach students different ceramic techniques such as modeling and potter’s tricks. These two aspects of my job, although completely different, complement me and stimulate my creativity.

Quel est votre processus ?

La création de mes pièces se fait en 5 étapes:

  • Façonnage
  • La finition - l'application des poignées et de mon logo
  • La première cuisson à 900 degrés - l'émaillage
  • La deuxième cuisson à 1225 degrés

En moyenne, combien de temps faut-il pour fabriquer une pièce?

In general, I create pieces in sets of 10. It takes me a day to throw them and then they have to dry overnight. I finish them the next day and place the logos. The next day I create the handles. Then I let them dry completely for about 4 days. I fire them the first time for 25 hours. I take an afternoon to enamel and then pop them back in the kiln for 35 hours and the pieces are finished. It depends on the models but I would say it takes me about a week and a half to make a model.

Qu'est-ce qui vous inspire ?

I think that the aesthetics of nature is one of my biggest sources of inspiration as well as artists who have worked with this subject matter such as photographer Karl Blossfeld, designer Victor Horta or the Thonet brothers. Soft and curved materials like blown glass, willow basketry, ceramics and turned wood fascinate me. I draw my visual vocabulary from the shapes and textures of my own environment. Berlin is a very manmade city and the structures can sometimes be hard so the choice of raw black clay and rough grain came naturally.

Que signifie la durabilité pour vous?

 A manufacturing process that has little or no impact on the environment and that uses degradable and recyclable materials. In the studio, I recycle used clay by rehydrating it for reuse. I allow the waste water to settle so as not to throw earth or oxides into the sewers or groundwater. I avoid overpacking my parts for shipment and I always reuse packaging that I receive. My kiln is kept at a low consumption level so that it uses the same amount of energy as a toaster at 230W. I also make sure to completely fill my kiln when I start firing to make sure my electricity consumption is as low as possible. I also work at my own pace, paying close attention to my physical limitations. I think that creating in a sustainable way is also connected to the life of the creator behind the object. My objects require time and patience and are made to last. They have been manufactured with respect for their creator and the environment.