My very first experience working with porcelain was devastating. Second semester of studying design, I expected of myself to develop a set of simply perfect objects which were supposed to amaze everyone with their sophisticated boredom and don’t touch me attitude (looking back this decision was rooted in my insecure arrogants and self loathing).

Problem was and still is- I am not able to produce perfect. And even more problematic is the chemistry based memory of porcelain itself. Every ´misstep´ during the production leaves a trace. An unwanted one we were told by a very unfriendly Werkstattleiterin. I became so anxious about the mistakes and therefore visible flaws of my work that I decided (without knowing back then) to produce the most difficult forms you can try to produce in porcelain, a cylinder, and a half sphere. I forced myself into these forms. I did not fit. I crumbled and cracked. I split and shattered. I ran and dissolved into pieces. The few spheres and cylinders which survived, horrified me, as they represented my inability to fit and my self-disgust of trying so hard to be simple and spherical. After this experience, I decided to never work with porcelain again. 

 folds and faults

Fortunately, I never stopped. After working for some time with the material I started questioning the aesthetic value system, which condemns flaws in objects. And I developed my own production process without precise negative forms and strict guidelines. The project `folds and faults` is therefore a series that evaluates the meaning of faults, flaws, and inaccuracies in objects against the backdrop of a flawless hegemony of industrially produced items. Each object is made out of single puddles of porcelain. The silhouette and surface are therefore mainly formed by the material itself.

The results are unique specimens formed by the material itself, the forces of the kiln, and two intentional cuts.

My very first experience working with porcelain was devastating. Second semester of studying design, I expected of myself to develop a set of simply perfect objects which were supposed to amaze everyone with their sophisticated boredom and don’t touch me attitude (looking back this decision was rooted in my insecure arrogants and self loathing).

Problem was and still is- I am not able to produce perfect. And even more problematic is the chemistry based memory of porcelain itself. Every ´misstep´ during the production leaves a trace. An unwanted one we were told by a very unfriendly Werkstattleiterin. I became so anxious about the mistakes and therefore visible flaws of my work that I decided (without knowing back then) to produce the most difficult forms you can try to produce in porcelain, a cylinder, and a half sphere. I forced myself into these forms. I did not fit. I crumbled and cracked. I split and shattered. I ran and dissolved into pieces. The few spheres and cylinders which survived, horrified me, as they represented my inability to fit and my self-disgust of trying so hard to be simple and spherical. After this experience, I decided to never work with porcelain again. 

 folds and faults

Fortunately, I never stopped. After working for some time with the material I started questioning the aesthetic value system, which condemns flaws in objects. And I developed my own production process without precise negative forms and strict guidelines. The project `folds and faults` is therefore a series that evaluates the meaning of faults, flaws, and inaccuracies in objects against the backdrop of a flawless hegemony of industrially produced items. Each object is made out of single puddles of porcelain. The silhouette and surface are therefore mainly formed by the material itself.

The results are unique specimens formed by the material itself, the forces of the kiln, and two intentional cuts.