Ilona Romule with her works at      Hona Romule working on the 3rd International

 Studio 1994                     Bone China Symposium “Idea” in Bone China

                                 Factory in Kaunas Lithuania 1992.

What I am making can be rarely called ceramics. I call it “Three dimensional stories in colours”. Drawing continues the form and the form continues the drawing, while together they make a story.

Both the events of my daily life as well as my imagination are reflected in my art.

Also the game…with symbols and different situations from life.

Images: a man and a woman, though sometimes represented as animals.

Of course, they are naked, because only naked is true. The rest is prejudice of the rest is prejudice of the society.

But nature like an idea should not be covered…

So…the story…

Everybody has his own story. It is deeply individual matter. That is why I do not like to explain my works. I ask others, “What do you see?”, and if you see and you like or you do not like what is depicted, it is not important. The most important thing is not to be indifferent. I hate indifference. Yes, this is maybe the most important thing.

Painting with china colours   Loaded kiln for china paint                       and luster, Three china paint      firing. In my Studio 2003

firings 2003

Then also material and technique .But it should not be the primary things. It should simply be professional. As much professional as not to surpass the idea .The material (porcelain) is language of my “story”, and the  language should be fluent and flawless.

It is not important in what language you keep silent.

The most important is in what language you speak…

Last ten years I do not use plaster wheel for my Artworks. Even if I need to make something centric .I do it in purpose by hands. Because of slip-casted porcelain is al ready too much perfect material and need to have precise form.

I am making unique art pieces, but using factory process for producing porcelain ware.

So, the basic rules of slip-casted porcelain are so exact, that to avoid them and to use material “another-way” ask from me a lot of risk, experiments, time and experience.

Sometimes half a year long job gives “nothing”. But I love porcelain too much for to change it to another-“faster and easier” material. What to do? This is my destiny.

 Painting on thr porcelain in my Studio in Riga 2003     China painted works ready

                                                        for the last firing In my

                                                        Studio in Riga 2003