Black firing in a charcoal kiln
In the charcoal kiln, the sculptures and vessel objects are placed in metal cages in the center of 30 cubic meters of beech wood. Surrounded by embers and clouds of smoke for ten days, unique nuances of black stains and fascinating-colored lusters reminiscent of northern lights or rainbows are created on the surfaces.
Capsule firing / Saggar firing
In saggar firing my ceramic vessels and objects are surrounded by wood chips, straw, minerals and salts in the firing box. When heated to 1000° to 1100 °C, this creates very vibrant multi-colored surfaces.
Individually designed tableware
My tableware is freely turned on the potter's wheel from Westerwald stoneware clay, leaving finger marks visible. I freely design the surfaces with engobes: painted with a brush or slip trailer, stamped, scratched or printed. The food-safe glazes on the vessels are fired at 1250°C in a gas kiln.
Dishwasher and microwave resistance also contribute to the everyday pleasure of use.
Raku firing
In raku firing, I heat my ceramic bowls and vessel objects in a gas or wood kiln to over 1000 °C. Still glowing, they are taken out of the kiln and placed in a bed of sand and wood chips. Flames are then extinguished with sand. Reduction by the smoke turns the random cracks and unglazed areas black. The glazes often develop iridescent colors.
Unique vessels from the gas kiln
The contrast of perfectly smoothed polished surfaces and rough coarse textures on the individual vessels, fired at 1250 °C in the gas kiln, is meant to remind us of the smooth and rough sides of human life, the perfect and imperfect sides that make up each of us. The open flame flickers around the ceramics until they are white-hot. Soot burns completely, yet often influences the color of the glazes through reduction. In the process, the clay sinter and hardens. Thus, the ceramics become bright, resistant and perfectly dense.
