When hewing stones in a classical way, it is necessary to work away at them in a controlled, constant manner. It is quite the opposite when melting stones. Every experimental arrangement harbours a surprising result. Of course, experience of which firing temperature triggers what result in which material can be incorporated, but since even the smallest difference in thickness, storage, direction, temperature, etc., can actually make a big difference, it is impossible to control the outcome precisely.

It is precisely this letting go into the unknown that fascinated me incredibly. The clay test vessels, which are supposed to prevent uncontrolled melting in the kiln, were gradually developed further in terms of their shape and material until they finally became media for images. The wildest compositions were able to be preserved in their solidified state due to the quality of the melting and the adhesion of the stones with the clay.

While working on this project, I started a new series of reliefs. Negatives made of plaster of Paris were created from modelling balloons in order to then cast balloon blanks by means of clay casting, which were then connected in their reproduced state to create figurative relief constructions.

The “slimy” glaze chosen for this directly competes with the precise and perfect porcelain surface. Using the single balloon as a line, constructions could thus be assembled that are reminiscent of fins or radiator-like figurative structures. The sprues were broken off to give the hollow shape of the balloons an organic narrative.

Residence file