Vulnerability is a recurring theme in my work. Porcelain radiates fragility because of its whiteness, thinness and translucency.
I was searching for new directions and contemplating about new ways to express my ideas.
Working with paperporcelain opened new possibilities. First I was making cocoons, images of transition, symbolizing the transition in my work, in my life and in the world.
Since many years I was working as a volunteer for several organisations who were helping refugees in their search for support, housing and work. The experiences of refugees inspired me to create new work.
Using organic material in combination with porcelain is meant to be unpredictable, just like many things in life. I use materials from nature, which are doomed to decompose and give them a second life as a part of my work, symbolising that a second chance is possible.
Old pots have an important historical value because they are a rich source of information for archaeologists. They reveal the lives of ancient people in their daily lives, but also from their spiritual rituals. These antique vessels are based on ancient forms, archetypes and have a universal appearance. It is this universal spirit that I try to express in my work. My vessels carry signs and symbols and tell stories
about relationships and communication, about origin and evolution, about people and nature, about existence. My pots are metaphors for beings who communicate with each other.
For many years I made mainly wheel thrown vessels in porcelain which I treated with Terra Sigillata, an old Greek-Roman technique. The finishing of the terra sigillata gave these objects a silky, sensual skin. I used sulphates as colorants and fired my work in a saggar, surrounded with combustible materials. The results were unpredictable and gave my work an antique and universal look.
Later on I also started to make murals in porcelain and paperclay.