Visual research

What makes me unique as a ceramicist is my working method. As an artist, I position myself between imagination and science. This becomes visible in my visual research, my making process, and my sculptures. I often describe my process as a ‘translation process’. To move from a natural element to a ceramic sculpture, I go through several stages of translation. None of my sculptures are literal reproductions of their natural source. It is because of this translation process that I capture the subtle effects of nature and transform them into personal sculptures.

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When I begin a new series, I research my subject, for example, a plant in every possible way. I want to fully immerse myself in it. I read about the plant’s characteristics: its flowering cycle, its placement, whether it is native, the benefits it offers to biodiversity, everything I can find. Then I begin the making-based study of the plant. I create drawings, collages, and then new drawings based on these collages. Through this process, I allow myself to create forms I could not have imagined otherwise. While sketching possible sculptures, I bring the plant into my home, seek it out in the wild, or purchase it. Parts of the plant I place under the microscope to discover structures, which I then translate into the clay.

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Through this process, my works gain a form of recognition that captures attention and holds it by forming associations and imagination. In this way, the sculptures can create a similar effect to the natural elements that inspired them. With my work, I aim to bring people closer to the beauty of nature: its precision, its details, and even its imperfections.