I am a maker.
I have been making objects and drawings for my whole life. Since I studied at the Academy of Arts in Utrecht in the Netherlands my work were beforehand objects of layered wood and pigments which showed physical movement and grace stylised in forms which were shells and at the same time
physical. They showed the overlap between our human physics and nature.
Many years later I work with material needed and that varies; paper, porcelain, glass, gold, piments. I use old techniques.
Materiality is important, loved and asks for great craftsmanship. I enjoy that and love to find the materiality I need for a particular piece. Porcelain-art has a huge tradition, a smooth touch and complicated quality. She has a mind of her own which I find to be an extra challenge and that I love for my work.
Porcelain shows her own mind in al my pieces
I believe that my role as an artist is to pause the world around me, zoom in, admire it, study it and then show my reality.
Now that our world is being deprived of many organisms and at the same time filled with technological innovations, I long to capture natural beauty. I want to show it’s magic and also create new realities in imperishable and at the same time vulnerable porcelain and added materiality.
I watch, read and learn about our biocultural diversity and let my sense of wonder guide me in my work.
My Corpora are made with the traditional Japanese Nerikomi technique of layered pigmented porcelain that for me shows the natural line most honestly. All colours are pigments. There is no covering up. It is a laborious technique with a long build-up and labor-intensive process.
The Nerikomi base is created in advance and after various firing processes, sanding until it has its silky soft, very thin materiality and a vulnerable final shape. Other parts in the Corpora are strong, shiny and sharp.
The craftsmanship and time-consuming nature of this old Japanese technique partly determines the shape of my so called “Corpora”
