Author: Pauline Schlautmann


Braille Surface

Braille surface – negative and positive texture

Rupert Spira Love Text 1

Rupert Spira Love Text

Rupert Spira – Love Text

Braille Label

Braille labels

Braille Autos

Cars in a parking lot

Ingrid Lilligren Cottonmouth      Ingrid Lilligren Finding Home

Ingrid Lilligren – Cottonmouth / Finding Home

Else Sponge Vases by Michael Fargo

Ah, the classic experiment of dipping natural sponge into slip and firing it, taken to another level. Michael Fargo freely tears away at huge blocks of sponge, shaping them into various unique vessels. After firing and glazing, the vases often seem to resemble structures found in rocks.

Else Vases Micheal Fargo Else Rock Vases Micheal FargoElse Detail Micheal Fargo

Foam China by Marjan van Aubel

Marjan van Aubel has developed a porcelain foam which expands about 300 % during firing, similar to leavened bread. Due to its open structure it is very lightweight and strong. During the process she experiments with controlling the material’s expansion versus letting it behave freely. Foam Porcelain Marian van Aubel 1

Foam Porcelain Marian van Aubel

Erosion: Layered Porcelain Sculptures by Tamsin van Essen

According to the artist “this work explores erosion and the disruption of form. Focusing on biological erosion, I wanted to convey the idea of a host being attacked and eaten away by a parasitic virus, highlighting the creeping spread of the infection as it corrupts the body. I have produced a series of angular porcelain forms, sandblasted to wear the surface and reveal inner strata. This aggressive process, contrarily, creates a delicate vulnerability in the shape. The translucency of the porcelain and the interruption of the surface make it possible to glimpse through to layers beneath, creating a tension between the seen and the obscured.”

Erosion Tamsin van Essen Erosion Tamsin van Essen 3 Erosion Tamsin van Essen 2 Erosion Tamsin van Essen 1

Egg Shell Casting by Kaja Woelky

Kaja Woelky developed an unconventional porcelain casting technique based on the natural formation of a chicken egg. During the formation of an egg shell, calcium attaches itself to a membrane. Translated into porcelain, Woelky covered a supporting structure (called “pneu”) in a thin membrane of alginate, which she then coats with several layers of slip. This method allows small grains or seeds to be inserted in between the thin layers, creating a porous structure after firing.

Egg Shell Casting Kaja Woelky 4Egg Shell Casting Kaja Woelky 3Egg Shell Casting Kaja Woelky 1 Egg Shell Casting Kaja Woelky 2  Egg Shell Casting Kaja Woelky

Contamination by Tamsin van Essen

The raw clay for these cups was contaminated with various ‘foreign’ materials, to mimic the growth and multiplication of bacterial colonies. Bringing the microscopic to the macroscopic level, the contamination spread in an uncontrollable way during firing.



Texture Drippy Sand



Degraded Cups by Peter Marigold for Meissen

Marigold carved away at the surface of existing Meissen plaster moulds, casting containers each step of the way. The result is a one-of-a-kind series of gradually distorting vessels that edges on the line between destruction and creation.

Meissen Mould Distortion Peter Marigold Meissen Mould Distortion Peter Marigold 1

Porcelain Skins by Jessica Drenk

Created with a non-traditional ceramic burnout technique, the pieces in the Porcelain Skins series are experiments in which familiar, store-bought materials are transformed into shapes that suggest coral, shells, or calcified remains.  This process involves dipping groups of cotton material into liquid porcelain, letting the liquidized clay penetrate the surface of the cotton balls, Q-tips, or napkins, and then firing these materials and clay together in a kiln.  During firing, the cotton ignites and burns away, leaving only the porcelain as a husk of the original material that shaped it: a skin.

Porcelain Skins Jessica Drenk Porcelain Skins Jessica Drenk 1