In my new work, the association with traditional Asian ceramics is evident. This was already apparent in my earlier hand-thrown originals. The attentive observer will note, however, that I allow myself to be inspired by this type of ceramics, but that I do not strive to completely replicate it. Certain aspects of Asian ceramics are missing in my work, while others are augmented instead. Moreover, I add elements to my work that absolutely do not belong to the genre.
In my new work, the material still comes first. Every material has a unique identity that will inevitably be reflected in the shape it ultimately takes. To me then, the visual language is not my main concern. At a time when individualism seems to be a central concept and everything appears to revolve around appearances, saying this is probably a little like opening my mouth and putting my foot in it.
It is also essential to me that the work has a ceramic relevance. I wish to create work that could not be made within another discipline. For example, I have always considered the decorating of ready-made bowls by painters ridiculous (obviously not counting exceptions). After all, ceramic relevance does not arise from an image or decoration alone. First, there is the three-dimensional shape. This shape is key. Painting or decorating only follows after that, and needs to maintain an appropriate balance with the three-dimensional shape. The larger question you may ask in this context could be: as an artist, do you work from the outside in or from the inside out?
A studio-show with new pieces will open on October 26th (2013).
The “profile image” is a preview of what’s to come. (French stoneware with 2 glazes – a feldspar and an ash-glaze) This show will have an extensive catalogue.
The “selected images” present pieces of former collections.
All pieces have been fired in an electric kiln. Most of them fired at 1280 C. Few at 1230 C. I use stoneware and porcelain bodies; most of the time a mixture of porcelain and a bit of stoneware. Porcelain is a great clay to make mixtures with!
I hardly ever use clay straight from the bag. The pieces are glazed using feldspar- and ash-glazes. Once again; most of the time different glazes on top of each other.
Glazes can be dry, matt or glossy.
Born in 1953
Schooling: Teacher training at the Rietveld Academy in Amsterdam NL;1974-1978
Study trips: France, Great Britain, Mexico, Germany, New York City and others
Studio opened in1975
Shows started to be organized from 1976 onward; both national and international
Work can be found in both private and public collections