As an artist, I absorb my surroundings. Knowledge, experiences, and emotions flow into my decisions about media, materials, and processes and are in constant interaction. The result is my art.
The starting point of my current sculptures are 3D scans of a person. The coincidences, disruptions, and errors that occur in this process are not seen as flaws, but as creative impulses that open up new aesthetic and conceptual paths. The resulting data is digitally processed, printed in clay, and the still soft raw forms produced are then further shaped by hand, fired and glazed.
The works emerge within the tension between digital, mechanical, and manual modes of production. They operate at the intersection of virtual and physical presence and address their entanglement.
Back to the roots: The 3D printer creates the shape by layering thin strands of clay on top of one another. I took this principle and used it: I removed the printed head, shaped the strands, and wove them together to form a new head.
