What was it that made you start working with clay?
– I had a strong desire to try a different material from creating art than what I was used to and normally did. I’ve always drawn and painted, but I felt a longing for something more, a desire to work with my hands and sculpt. So, five years ago, during a summer, I bought twelve kilograms of stoneware clay, went to my cottage, and started kneading. It’s a rewarding craft because you can delve into every little part of the process, from the clay being just clay to it being fired into ceramics. It’s difficult to get tired of it.

 

Tell us about your process when working with clay! 
– I always start with a sketch and a concepts, but the final expression of the finished piece is often influenced by my initial desire to try something specific, such as a combination of different clays or a particular technique. The I try to find a form that fits the chosen technique. I always strive to work in harmony with the clays, enjoying letting their natural color and texture play a significant role in the finished artwork.

When we first started talking, the conversation was about large vases, but later it evolved into a thousand ideas and finally resulted in a collection centered about table setting. What were your thoughts when you began sketching this particular collection?
– I had the desire to create various objects that would come together as a cohesive whole, and a table setting felt like the perfect way to showcase functional ceramic pieces. It allows you to directly see how the ceramics behave in their “proper” element. I’m personally inspired by all the beautiful table settings that are prevalent now. I’m not that interested in everything being perfect and linear, but rather, I want to capture the vibrancy that surrounds a festive table. The ceramics should blend in with the food and the celebration, but not stealing the spotlight.

 

You left Stockholm to settle in the countryside. Has that decision influenced your creative process in any way?
– Yes, it definitely has, in various ways. I have different conditions in the countryside, more space, but also fewer external stimuli, which must affect me in some way, even though I’m not exactly sure how yet. This can also be seen in this small collection, which is created as a ceramic pre-summer garden. It’s soft and hard at the same time, just like ceramics and nature.

What’s next for you?
– I’m going to make a lot of tiles for a project, and once I’m done with them, I hope it’s July, and then my plan is to have a little vacation!