about

My work explores the intersection of light, form, and algorithmic design. Rooted in minimalist, archetypal shapes that echo the geometries of nature, I seek to develop a visual language through an inquiry into the principles that give form coherence, balance, and expressive power.

Inspired by folded paper, sand dunes, flow patterns in water, and weathered stones sculpted by time, I aim to reveal an unspoken geometry that underlies our perception of space and presence. I’m drawn to the way shadows create form, how certain curves flow naturally, how balanced objects find equilibrium, and why some objects resonate with both stillness and motion.

My practice weaves together two life paths: more than a decade of hand-building ceramic vessels and an earlier career in 3D graphics hardware design. Using algorithmic modeling software, I create porcelain works that gently rock on their folds, settling into their own natural balance point.

Each piece is slipcast in paper-thin, translucent porcelain—some in pure white or black, others tinted with metallic watercolors. I am especially drawn to cobalt, evoking the blue of deep water and the distant horizon.

I think of my vessel forms as quiet containers of light and atmosphere—visual poems shaped by code, clay, and intuition.

Photo by Ekatarina Izmestieva.

A note on color:

My clay body is either white or black porcelain. I use color sparingly, and when I do, it is always with water soluble metallic salts. These colorants are special: since they dissolve directly in water, I can paint them on the bisque-fired clay.

As the metal salts soak into the porous clay body, they move and interact with each other. And during the drying process, they naturally gradate and concentrate on the edges, highlighting the folds and ridges of my forms. This property is what gives my work an ethereal quality.

In the vitrification firing, the final color develops and becomes a permanent part of the surface. It is a bit like putting watercolors directly into the porcelain.

At present, I am currently using just three metal salts on my work: Gold, Cobalt, and Chromium, which give various shades of red, blue, and green.

I have Norwegian ceramist Arne Åse to thank for inventing and documenting this process in his excellent book: Water Colour on Porcelain.