Materials & Glazes
My work as a ceramic artist is deeply connected to a fascination with materials and the transformations that occur in the kiln. Glaze research, in particular, has become a central part of my practice. I am continually exploring how different minerals and natural materials interact with heat to create unique surfaces, colours, and textures in my woodfiring kiln and also in my electric kiln.
the science
Glaze research lies at the heart of my ceramic practice.
I am fascinated by the transformation that takes place in the kiln, where minerals, ash, and clay merge through heat, like a little cosmos to create surfaces that can never be entirely controlled.
Working between my studio in the Netherlands and my woodfiring practise in the foothills of the Italian Alps, I develop glazes from locally sourced materials.
Local nearby quarries supply the granitedust from syenite, beech & acacia wood ash from local forests, rice-husk ash from a farmer in Rovasenda, and river clay all find their way into my glaze palette.
Creating a glaze from local materials is like beginning a conversation with the landscape. It takes time, experimentation, and many firings to understand how these materials respond to the fire. Failure is part of this process, but so is discovery.
I am far from a geologist, yet this process of discovery continues to deepen my appreciation for the materials and the landscapes that shape my ceramics. Each glaze continues to evolve, revealing different surfaces and colours on different clays, giving the finished work a distinct sense of origin.
Like a local stamp or photograph.
ashes to ashes
In this exploration, I have also developed the possibility of incorporating cremated remains, cremains from beloved pets or family members into glass and ceramic materials. Through careful material research, cremains can become part of a glaze or even an ingredient in the development of a porcelain clay body. The result is not only a physical object, but a meaningful and lasting remembrance.
This can take many forms. Some people choose a glaze made with cremains to decorate an urn that holds the remaining ashes. Others prefer a daily object, such as a cup or bowl, that quietly carries remembrance into everyday life. I have a coffee cup made with a small portion of my father’s ashes, which allows me, in a gentle way, to have my morning coffee with him each day.
For those who wish it, we can transform a small portion of ashes into a unique material presence within a ceramic piece, allowing memory, material, and craft to come together in a quiet and enduring form.
