It hasn't been long since I started working with clay – and yet, within a very short time, I was absolutely captivated by the material.
What began as a desire to create something with my own hands quickly developed into a deeper fascination for various reasons.
For one thing, clay connects us with something very primal. For millennia, people have been shaping earth and water into bowls, cups, and vessels – long before design was a profession, ceramics were already part of everyday life and human culture.
Working with clay means to me to be part of this long cultural tradition.
On the other hand, working with clay has given me a new approach to architecture, which I studied before I discovered ceramics. Clay is so versatile in its mouldability that it has few limits in terms of design. So it seems only natural to also engage with proportions, structure, and balance when working with clay, which continues to shape my design approach today.
This is why each of my pieces begins with work on the form. Glazes and surfaces consciously take a back seat at first and later enhance what is already inherent in the object's form.
I am particularly drawn to minimalist and brutalist architecture – buildings that openly display their materiality and derive their impact from proportion, light, and mass, rather than decoration.
I always try to transfer this way of thinking to my ceramics.
Thus, each object arises from an intensive engagement with form and design language. Some ideas begin as sketches, others originate purely in the mind. Often, it's only a few millimetres that determine whether a silhouette creates tension or radiates calm. Many designs go through countless small changes before they find their final shape, only to become unique pieces afterwards.
My works do not push themselves to the foreground. They live from their form, their materiality, and their proportions. Quiet objects that give a room character and become natural companions in everyday life over time and can become favourite objects through their daily use.