Founded by Joris-Jan Bos after a career in theatre, dance

and portrait photography, 3TREESceramics grew from a gradual shift from image-making toward object-making,

from observing the world to working directly with material and process.

A cultural exchange in Japan became a decisive turning point, introducing Joris to ceramics and to a slower, more attentive way of creating rooted in repetition, tactility, and imperfection.

 

Today, he works closely alongside his wife, Cora Bos-Kroese. What began as curiosity slowly evolved into a shared artistic practice and teaching studio built around clay, community, and research.

 

Cora brings her background as a professional dancer with Nederlands Dans Theater and the Frankfurt Ballet into her ceramic work. Movement remains central to her approach. Her forms are organic, expressive, and balanced in their imbalance; pieces that carry rhythm, softness, and a quiet sense of playfulness. Within the studio she leads handbuilding, helping students translate ideas into form

with sensitivity and intuition.

 

Joris’s work is expressive yet refined, with strong attention to shape, texture, surface, and firing. His ongoing research into glazes, raw materials, and kiln atmospheres continues to shape the direction of the studio. Years of travel, firing, and material research in both Italy and Japan deeply influenced his understanding of ceramics as a dialogue between maker, material, and environment.

 

Together, Cora and Joris have built not only a studio,

but also a team of teachers who share their philosophy and approach to clay: Marieke, Yma, Mahtab, Iris, Manon, and Robbert.

 

Artist Statement

 

At 3TREESceramics, we see clay not as something to control, but as something to collaborate with; an ongoing conversation between material, maker, and fire. Our work is rooted in attention, repetition, and trust in process.

 

We work extensively with home made studio-made glazes and for our wood firings we source a lot of local materials such as all kinds of wood ash, granite dust and wild clays that we collect, test, and refine ourselves. These materials become more than ingredients; they become records of place and time. Especially through wood firing we see the fire leaving her mark on every piece through flame, ash deposits, bringing out organic movement, but is also highly unpredictable.

What emerges from the kiln carries what we often call the “stamp of nature”; traces that can never be repeated exactly the same way twice.

 

Influenced by Japanese and broader Asian aesthetics, particularly the philosophy of wabi-sabi, we embrace imperfection, asymmetry and the beauty of things made slowly by hand. We are less interested in perfection and more on work that reveals process, touch, and transformation.

 

Teaching is approached in the same spirit. We believe skill grows through attention, patience, and curiosity. By slowing down and learning to truly observe material, clay becomes more than technique alone; it becomes a way of thinking and a lifelong practice of staying awake to process, place, and opportunities.