MY work in ceramic can be divided into two categories: Firstly, my large-sized landscape sculptures, “sculpture kilns”, built and fired in situ, where the process is as important as the final product. Secondly, my smaller, more intimate sculptures, built in my studio and fired in different kilns available to me.

I work as a “clay architect” who is fascinated by all kinds of clay products. It is amazing to me how many different expressions there are and have been through time. But my main source of inspiration is the earliest structures made by man, and they are often the religious buildings. The appeal to me as monumental pure form conveying the search of man’s belief through time .It translates the search for the divine combined with the pure joy of creating.

However my “buildings” are mostly about houses, the forms are often joined together, twisted and turned over and around in order to create an environment. I play with connecting and overlapping in my smaller house forms as well as in my large scale work. This use of overlapping and connecting has led to the development of a module system that can be added on to and stacked easily. It is an important element of my concept “sculpture kiln” where the sculpture itself, wrapped in ceramic fibre blanket, is the kiln. Using this system l can build pieces 4 or 5 meters high in a very short time. The dramatic firing of the sculpture takes a couple of days and is an integral part of the project.

Much ceramic work is limited as to form and size by the fact that the kilns available are often no bigger than a household refrigerator. With the invention of ceramic fibre blanket the field was liberated. I have found that to be an inspiration in my work with concepts and with processes, and a means of keeping my mind in constant flow.

I work with chance.

I take many chances.

I am so used to uncertainty.

That it has become part of my work.

I am always alert, because if I get too comfortable I lose control.

I reach into the past to grab the present.

I use clay, man’s oldest creative material.

I call the process “tracking”.