Techniques and materials
I like the idea that working with ceramics is basically quite simple. It is a material that has been dug out of the ground, formed and fired. It has been done for thousands of years - so it is the detail and personal expression I add that makes it special.
Technically, there are endless possibilities so in order to be able to master my technique and keep the focus on the expression I try to work with relatively simple methods.
By working focused, I get an eye for all the nuances that exist in the area I am working in - and again endless possibilities opens.
I primarily work with porcelain clay. I like that the material is subtle and strong at the same time. The porcelain shrinks 15% in the firing - it means that I can think I have made a huge vase, and it comes out of the kiln and is ... tiny ...
But it also means, that the clay is completely sintered; ie close or fused. It cannot soak any water, even if it is not glazed - and therefore tolerates both dishwasher and freezer.
The vases called Limfjorden are fired upside down and I use the unglazed top edge as part of the expression. The matte, sintered surface tells of the material and it is a contrast to the glazed surface on the rest of the vase.
All my work is made on the potters wheel. After the throwing, I alter the work in different ways.
Sometimes I use a knife to cut in the surface, at other times I cut the pots in pieces and put them together in new ways. Other times again I press or alter the clay.
I develop and mix my own glazes and therefore know how they react with each other and how they differ by small changes in the temperature I fire to.
All my work is fired in an electric kiln.