The breakfast set viewed from a different angle. The set consists of plate, cup and saucer. This is the version in porcelain, hand thrown. The forms that I throw are similar since many years, I just make small variations. The larger plate has a higher edge for the first time and has grooves on the inside. The surfaces are glazed transparent and shiny, except on the outside of the larger plate where there is no glaze. I made various sets with different glazes. From matt to shiny, without any glaze, glazed inside, glazed outside or both. At the end I was convinced by the version you see here. All my works get stamped with the letter “H” somewhere. Only a few pieces get the red thread mark. Which ones get thee mark? In don’t know how I choose them. I work intuitively and decide while throwing which pieces I pierce so that they can get the mark. I have to pierce while the porcelain or clay is leather-hard, and when glazing I have to be careful not to apply any glazing to the hole so it will really stay open. Sometimes this will not work precisely and I get angry when I see a piece where the hole is filled with glazing after firing. I love details, besides working on forms this my second passion – to add some details to the work that will make it more refined. Probably this method of working has to do with my biography. I studied architecture, later art history and philosophy, before I turned to ceramics two decades ago. I will write more about all of this in some of the next posts.

The breakfast set viewed from a different angle. The set consists of plate, cup and saucer. This is the version in porcelain, hand thrown. The forms that I throw are similar since many years, I just make small variations. The larger plate has a higher edge for the first time and has grooves on the inside. The surfaces are glazed transparent and shiny, except on the outside of the larger plate where there is no glaze. I made various sets with different glazes. From matt to shiny, without any glaze, glazed inside, glazed outside or both. At the end I was convinced by the version you see here. All my works get stamped with the letter “H” somewhere. Only a few pieces get the red thread mark. Which ones get thee mark? In don’t know how I choose them. I work intuitively and decide while throwing which pieces I pierce so that they can get the mark. I have to pierce while the porcelain or clay is leather-hard, and when glazing I have to be careful not to apply any glazing to the hole so it will really stay open. Sometimes this will not work precisely and I get angry when I see a piece where the hole is filled with glazing after firing. I love details, besides working on forms this my second passion – to add some details to the work that will make it more refined. Probably this method of working has to do with my biography. I studied architecture, later art history and philosophy, before I turned to ceramics two decades ago. I will write more about all of this in some of the next posts.

Likes: [igp-likes]



The breakfast set viewed from a different angle. The set consists of plate, cup and saucer. This is the version in porcelain, hand thrown. The forms that I throw are similar since many years, I just make small variations. The larger plate has a higher edge for the first time and has grooves on the inside. The surfaces are glazed transparent and shiny, except on the outside of the larger plate where there is no glaze. I made various sets with different glazes. From matt to shiny, without any glaze, glazed inside, glazed outside or both. At the end I was convinced by the version you see here. All my works get stamped with the letter “H” somewhere. Only a few pieces get the red thread mark. Which ones get thee mark? In don’t know how I choose them. I work intuitively and decide while throwing which pieces I pierce so that they can get the mark. I have to pierce while the porcelain or clay is leather-hard, and when glazing I have to be careful not to apply any glazing to the hole so it will really stay open. Sometimes this will not work precisely and I get angry when I see a piece where the hole is filled with glazing after firing. I love details, besides working on forms this my second passion – to add some details to the work that will make it more refined. Probably this method of working has to do with my biography. I studied architecture, later art history and philosophy, before I turned to ceramics two decades ago. I will write more about all of this in some of the next posts.

The breakfast set viewed from a different angle. The set consists of plate, cup and saucer. This is the version in porcelain, hand thrown. The forms that I throw are similar since many years, I just make small variations. The larger plate has a higher edge for the first time and has grooves on the inside. The surfaces are glazed transparent and shiny, except on the outside of the larger plate where there is no glaze. I made various sets with different glazes. From matt to shiny, without any glaze, glazed inside, glazed outside or both. At the end I was convinced by the version you see here. All my works get stamped with the letter “H” somewhere. Only a few pieces get the red thread mark. Which ones get thee mark? In don’t know how I choose them. I work intuitively and decide while throwing which pieces I pierce so that they can get the mark. I have to pierce while the porcelain or clay is leather-hard, and when glazing I have to be careful not to apply any glazing to the hole so it will really stay open. Sometimes this will not work precisely and I get angry when I see a piece where the hole is filled with glazing after firing. I love details, besides working on forms this my second passion – to add some details to the work that will make it more refined. Probably this method of working has to do with my biography. I studied architecture, later art history and philosophy, before I turned to ceramics two decades ago. I will write more about all of this in some of the next posts.

Likes: [igp-likes]



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