My studies of graphic art and many years of occupation in this field had considerable influences on my way of working as ceramic artist. Even when I changed from paper to clay a special subject was kept as a principle of designing for many years.

Like a child, who drops ink in the middle of the sheet, folds it, unfolds it and all of a sudden discovers a lovely butterfly. I discovered a particular phenomenon of nature, which became a principle of shape in my artistic conception: the slightly imperfect symmetry which I find in the human face, the flight of birds, butterflies, the shapes 0fIeaves and so on.

In all these examples symmetry is only superficially perfect. In reality it is often a delicate nuance of color or slight deviation in line that produces the imperfection. It is this minimal difference that I find exciting. This phenomenon accompanied my work during the first period of my activity in the field of ceramics.

From the mid-1970s to the mid-1980s relief-cut-works were prevalent. From a block of body I cut using different wires, relief-patterned slabs, which I worked up to double-sided reliefs, or formed volumes and thick-walled boxes with roof-like lids. Material was porcelain and stoneware.

As I didn’t want to interfere with fine grooves of the surface, I abandoned any kind of glaze. Besides porcelain, I stained my works, using solutions of soluble metal compounds. The works have been fired in a gas-kiln to 1300℃ in reduction.

In the mid-1980s the subject of my works changed and the way of working changed accordingly.

I arranged and applied textured, thin shreds of clay to a strong clay-plate, forming manifold organized wall-reliefs. Their surface has been treated with a thin layer of metal oxide or engobe, all partially sponged out, and sometimes sprayed over with a trace of mat-glaze in order to vitrify the engobe. The works have been fired to 1300℃in reduction.

During the last years I mainly did low reliefs and sculptures.

Sometimes I put several layers of different clays together. For the upper layer I preferred a porcelain body in order to obtain a surface as fine as possible. Cracks and crevices caused by incongruent expansion-coefficient have been employed intentionally. The surface was treated with a thin wash of a mixture of metal oxides and grinded stones. I used to fire to 1100℃ in oxidation.