My projects
The final work is not just a form, but a captured moment of feeling and exploration
My ceramic journey is led by feeling. I am constantly pushing the boundaries of what clay can hold and how glazes behave, exploring the fine line between control and chaos. My scientific background provides the foundation for my material research – both in shaping the clay and in developing my own glazes – yet my heart dictates the final form. I create to tell stories. My pieces are designed to evoke emotion, asking the viewer to connect with the beautiful and honest nature of the material.
1. My porcelain collection
Central to my work is the development of a custom slip-casting technique, which allows me to bypass the traditional, repetitive nature of casting and instead use it as a tool for spontaneous, additive construction. This organic approach results in pieces that feel grown rather than constructed—unique, honest, and intimately connected to nature. I work primarily with high-fired porcelain for its purity, strength, and remarkable translucency.
Magic of light
Biennale exhibition of Cultuurvuur ‘The Chemistry of light: photosynthesis’ at Meise Botanic Garden (1 May 2026 – 31 August 2026)
‘Magic of Light’ is a porcelain installation that echoes the interplay of light and shadow found in nature. The work is deeply inspired by the biological process of photosynthesis in Victoria water lilies, focusing on the vital elements of water, light, and stomata (pores). Just as photosynthesis drives the life cycle of the water lily, the presence of light is crucial to this installation, transforming it from a mere physical artwork into a dynamic experience.
The installation consists of approximately 20 porcelain bowls in various sizes and organic forms, installed in and around a pond. These bowl elements were created using slip-cast porcelain, meticulously built up in a sculptural manner reminiscent of the complex, structured pores (stomata) of a water lily.
Through this sculpted, porous structure, the works create an enchanting, intricate play of shadows. The light becomes “magical” in both a literal sense—as it interacts with the material—and a figurative sense, creating an atmospheric experience. This, together with the choice of translucent porcelain, allows the bowls to glow, enhancing the mesmerizing effect. The extreme fragility of the porcelain serves as a profound symbol of the fragility of nature itself.
Just as the process of photosynthesis causes natural water lilies to grow, the “Magic of Light” installation is designed to feel alive, with the porcelain bowls expanding and flourishing in harmony with their environment.
Inspired by lace
Exhibition ‘Ritme’ at Begijnhof Diest (27 May 2025 – 3 May 2025). The works ’Creativity is nothing but a mind set free’ and ‘A pair of works in cast porcelain’ form also part of the installation ‘The Chemistry of light: photosynthesis’ at Meise Botanic Garden (1 May 2026 – 31 August 2026)
As a ceramic artist, I am deeply captivated by the intricate beauty of traditional lace-making. My work translates this delicate textile art into porcelain, aiming to capture the same ephemeral fragility and lightness.
I cast individual, lace-inspired components, which I then meticulously arrange and construct into larger, rhythmic patterns. By stacking and layering these delicate porcelain elements, I explore the tension between structure and softness. The resulting sculptures are designed to interact with light; their thin, translucent nature allows light to flow through the material, revealing the fine details of the patterns and creating an ethereal, glowing effect. This interplay of fragility, rhythm, and light forms the core of my contribution to the installation ‘The Magic of Light’.
2. My glazed collection
I am deeply invested in glaze development, crafting my own recipes to achieve specific tactile and visual results. Experimentation lies at the heart of my work. I view the kiln as a collaborative partner rather than a mere tool. Through dedicated glaze development, I push the boundaries of texture and surface, aiming for a dialogue between the form and its skin.
I focus on creating glazes that react, flow, and bloom in the kiln. I work with, rather than against, the technical “flaws” of glaze chemistry, aiming for unexpected, organic finishes.
I layer hand-mixed glazes to create depth, often aiming for unexpected reactions, crystalline formations, or volcanic, earthy textures that unify with the organic clay bodies. I strive for a balance between intentional design and the magical unpredictability of the kiln.
Internal Landscapes - A Journey in Clay
End-of-Year Exhibition June 2025 SLAC (Belgium). Graduation work
As part of my graduation work as a ceramist, this collection explores the intersection of intuitive form-making and experimental glazing. The series serves as a visual journal, aiming to provide insight into my personality, thoughts, and emotional state.
I create forms intuitively, allowing the stoneware clay to take shape without prior sketching, resulting in organic, often contradictory structures. To accentuate these forms, I utilize special effect glazes that react intensely during the firing process. These glazes—chosen for their dramatic viscosity and crystalline, textural qualities—act as metaphors for emotional depth and cognitive layering. The final pieces are a fusion of spontaneous form and calculated, yet uncontrollable, chemical reactions, representing the interplay between my conscious intentions and subconscious feelings.