In my work I give priority to structures and tones borrowed from nature. I find that the synchronicity of shape, surface and colour bear deep importance to me. It is in my power to influence these by the choice of clay and the type of the final burning. My process reflects the passing of oxydes, the salts of metals, the shadow of smoke and imprints of seaweed. Shadows and brightness. Not solely for practical reasons had I chosen to burn in a reductive atmosphere of metal barrrels in an open fire, so-called ´burnishing´ in an open space. My objects are born under the wide expanse of sky, in the countryside. The very process has, for me, become an intimate ritual. After my journey with the object is concluded, I pass it on to the tongues of fire. My other work is simply to feed the flames. and to believe. to trust. to dream. my object spends up to twelve hours in the surroundings of fire. it metamorphoses. and I remain close. in weighted silence I time and time again succumb to wonder. I discover, I reveal, I examine and study these. incredible. incredibly universal images, that this ritual alchemy of chance manages to unravel. To conclude, I cover the surface of these images by beeswax, and sometimes I burnish it. 
At times, I travel alongside my work - to residential burnings in a wooden kiln. This too is a firing at high temperatures, equally in a reductive atmosphere with mixed glazes intended for this purpose. Every firing is unique, irreplicable. Cups, bowls and vases are adapted to kitchen-friendly use, to accompany you throughout your daily rituals. Hence, my work interacts with the fabric of the everyday.