View Image Gallery Regina Muller-Huschke(Full member)Tel: +49.30.41 71 92 88 Email: Web: www.mhkeramik.de
The vessel is my main interest. Central is the examination or analysis of form and aesthetics. My great love belongs to historic ceramic forms like soft-paste porcelain from Sèvre 18th century or the eccentric designs by Josiah Wedgwood. Of course there are other inspirations, like from art (Juliao Sarmento, Cy Twombly, Eva Hesse, and more), from the natural world (calabashs, trees) or traces I find in the modern city. Besides the flower vases, which are part of my work, I prefer making unusual pots with a hidden beauty.
I love throwing in a resolute and "direct" way. The wheel can rotate slow or very fast, but the pace and rhythm should be noticeable on the completed piece. I like to work with beautiful fine porcelain as much as with heavy grogged clay. High fired white porcelain should look like a deepfrozen flower which had been alive a second before. My velvet black raku should be untamed as if it came directly out of a volcano, soot-blackened. I like wabi-sabi, which means, I like the imperfect as it is, straight from the wheel. Sometimes people ask why I wouldn´t improve my throwing, as it looks unskilled, asymmetric. It is asymmetric, I try to get out of centre just before the vessel is completed. If you throw like that, the shapes must develop in the shortest of time with an absolute sureness. One handling too much and the form looses life. Often I leave the traces of making, not only the throwing marks but also little mistakes or left overs from the soft clay/porcelain, which then is preserved on the fired piece.
My work is not really designed for common beauty. Sometimes I even handle the sensitive porcelain in the opposite way as often associated. Then I throw it heavy and thick. White living stones. All these vessels, black or white, aren´t too fond of being domestic.
White porcelain and dark Raku is an exiting contrast. Both, in placing the pieces side by side, but also in making them.
About two years ago I started a new style, which I call "Bunt", means colourful. "Bunt" seemed to be a change after very black and very white pots. These are monochrom containers, simple in their shape and they come in various faded colours - white, green, pink or a light blue. Scratched marks in the paint are inspired by the houses and walls of Berlin.
I started this style when I grew weary of raku, fed up with lifting heavy pieces with a long tongue out of my big Roderveldt Kiln into the bathtub with sawdust and out again... However, after a short time I went ruefully back to my Roderveldt and fired some of the new heavy containers, which then become a deep black in the heavy post-reduction.
Current work and Availability
Thrown and handbuilt vessels, bowls
Three different techniques:
Limoges porcelain clay. Often the outside is left unglazed and polished after glaze firing. Inside either a clear or an opaque feldspat glaze. Some vases or bowls are glazed with a 'false celadon'. I use the same recipe from a time, I made 'real' celadons in a gas-kiln. Now colour comes from glaze stains or oxides. Bisque at 950°, glaze firing at 1280° Oxidation in an electric kiln.
Heavily grogged ( 40% /0.2 - 1.0 ) clay. Different sorts of clay, just what is there. Bisque firing at 950°-1000°. Raku firing (Roderveldt Kiln ) at 1050-1100° (no pyrometer)
Heavy post-reduction in sawdust. I am not interested in spectacular glaze effects, I try to avoid crackle or lustre. My favorite glaze is a monochrom deep black, which I called 'Black Velvet'. It is a dry Barium glaze, the basic formula for it I developed in Harrow. Another glaze is matt grey/white (with a calcium borate frit). All raku-pots are glazed in the inside, mostly with a simple transparent alkaline-frit based glaze. Pots are brush-glazed and there are parts without and with glaze. Most Raku pieces are made waterproof.
Dark red clay or black manganese clay. Thrown and handbuilt. Painted in several layers with a slip-glaze (sinter-engobe, mixed in no fixed quantities from simple ingredients) with different quantities of glaze stains and oxides. Firing sometimes more than once in an electric kiln at 1150°.
From 2002 - Studio in Berlin
- Kunstgewerbemuseum Berlin, 2011