As a Danish ceramic artist, do you consider the living climate an important influence in your work?
I think it’s fair to say that my works have a certain Nordic nature component. Danish nature is not wild and magnificent – more one that offers quiet experiences: a misty morning over the ploughed fields; an old, dead tree; rainy weather that starts as dark streaks on the horizon; the weather clearing up after rain. Danish weather is changeable and often a cold, clammy affair, but this makes one more keenly aware of the light and small shifts in nuance.
Your work have been described as highly experimental. From the slip-cast rigorous design to the hand-built structures, you have been experimenting different body of works over the years. How do you find yourself shifting subjects and manners? Is it a continuous change?
I have never personally felt that I undertook dramatic shifts. I see my work as an on-going development, where one thing leads to the next. I will never completely finish – fortunately. While working, new ideas emerge that have to be tested. One could say that the experiments themselves ask the next questions. Ceramics has so many possibilities, and I like challenging the material and myself.
Portrait of Bente Skjøttgaard, 2010, Photo: Ole Akhøj
What influences and inspires you the most in your creation? How would you describe your current body of work?
With my background as a ceramist I nearly always have my point of departure in an idea to do with material or form. This can, for example, be new form expressions achieved by special compositions, or through cuts or glazing experiments that result in strange surfaces and textures. I often gain inspiration from nature’s formal principles and phenomena. Work takes place systematically and always on the premises of the ceramic material, but the investigations often develop into something that is reminiscent of large, amorphous nature-abstractions, with plenty of glaze. The fantastic thing about clay is that what is nature’s own material can constantly be transformed into something new and relevant.
Delicacy and sensitivity are two powerful characteristics of your work. How much do you rely on intuition and how much on unpredictability?
I make use of both in my work. Ceramics has an innate unpredictability, especially because it is out of one’s hands during the firing at high temperatures. This unpredictability is a challenging co-partner and opponent. All the time, one gets something more or less intentional for free, and from there one has to decide if and how it can be used. My intuition has probably been honed by many years’ experience of this process.
Besides a very playful approach in manipulating clay, you ingeniously use colors and assets of glazes in your work. Tell us more about the importance of color and its use in your creations.
Previously, I was mainly interested in the ability of glazes to interact and behave differently, according to the thicknesses involved. At my ‘Interglacial Period’ exhibition in Galleri Nørby in 2005, it was mainly green/turquoise, because copper is very good at producing that sort of thing. Then came the exhibition ‘Elements in White’ at Galerie Maria Lund in Paris in 2008, where I almost washed the slate clean and experimented with various textures within white glaze.
It was not until the more recent works ‘Clouds’ that I seriously explored selecting more precise colours. Here I have thought more in psychedelic colours, the colours of the sky, sunrise, violet, pink and yellow. It has been interesting to include these more ‘un-ceramic’ colours.
You are one of the initiators and directors of the Copenhagen Ceramics platform. How did this project start? Tell us more about the objectives of this new Danish movement.
The project Copenhagen Ceramics has been implemented by the ceramic artists Steen Ipsen, Bente Skjøttgaard and Martin Bodilsen Kaldahl, based on having noted that there was no longer any exhibition venue in Copenhagen where the best of the great diversity of ceramic expression existing in Denmark could be shown and experienced ‘live’. Another important aspect of the project is the Internet platform www.copenhagenceramics.com, which we wish to use to disseminate knowledge of Danish ceramics internationally.
We have planned the 10 exhibitions for 2012: 4 solo exhibitions, 5 two-man exhibitions and a single group exhibition with six of the best ceramic artists from the younger generation. The individual artists have been selected and linked together in new constellations that enable completely new artistic facets in all of them to emerge – also among those already more established.