Ceramic Sculpture · Studio Practice
Each piece begins as a lump of raw clay and becomes something that will outlast us. Vessel, figure, void — forms that hold memory.
View the collectionUntitled No. 7, 2024 — Stoneware
Artist statement
I work with stoneware and porcelain, pulled and coiled by hand, fired in a wood kiln outside Vienna. The imperfections are not accidents — they are the record of every decision, every return to the wheel, every night the kiln held heat. I am interested in the space between function and silence.
How the work is made
There is no shortcut in ceramics. The material resists — and that resistance is what gives it authority. A piece that cooperates too easily usually isn't worth firing. My studio is a converted cellar; the kiln takes three days to cool.
Wedging & centering
Clay is worked by hand to remove air and align the crystals. Centering on the wheel is the first negotiation with the material.
Forming & drying
Pulling, coiling, or slab building depending on the work. Pieces dry slowly — days, sometimes weeks — to avoid cracking.
Bisque & glaze
A first firing makes the clay permanent. Glazes are applied — many are wood ash gathered from the kiln's own fuel.
Wood kiln firing
Temperatures reach 1300°C over 36 hours. The flame leaves its own marks — no two firings are identical.
Objects at Rest
Galerie Kalkwerk, Vienna — Solo
New European Ceramics
Stedelijk Museum, Amsterdam — Group
Clay & Contemplation
Musée Ariana, Geneva — Solo
The Weight of Making
Serpentine Galleries, London — Group
Archive of Small Hours
Kunsthalle Wien, Vienna — Solo
Material Turn
Biennale Internazionale dell'Arte Ceramica, Faenza — Group
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