Hang on the wall (if it is not your wall ask for permission before) as friendly reminder.
This sample was produced during the development of the mirror series `pomm(es)´. For the production I had to relearn to sketch. As I was trying to sketch certain face expressions with liquid porcelain. Rather than envision a precise shape first, and mold a material to it second, I hold great importance in allowing the material to take the lead in the process.
I always try to not think about how I want to do this or that form, but I like starting with the quality of the materials. I look at how it develops naturally, and then see what I can do with the natural quality within, to extend that in a way.
One of the amazing things about porcelain is that you can get very precise forms. However, if you want to have that very specific form, there are always a lot of pieces which end up ‘false’… The suitability about my process, is that I’m basically working from these mistakes. The ´mistakes´in form of bumps and curls of the material itself are becoming some sort of autark formgeber. In that crystallised state, porcelain is very unforgiving. Every movement, every jiggle of my hands during that step will show in the form of bumps, wrinkles and dales.
Years ago a friend of mine posted a photo of a bear shaped crisp. In that photo he was holding the crisp in front of his face with a certain distance so the crisp became exactly the size of his face. This very simple collage of a human with a crisp face stayed on the surface of my brain for years, I could not explain to myself why… You could still see his mouth through the crisp and so I thought about this very rudimentary trope of a smiley. That memory of unexplainable importance to me just happened to appear again when I worked with the porcelain. That uncertain feeling connected to the memory of that photo was basically the foundation of the series Pommes I.