I work as a “clay architect” who is fasxcinated by all kinds of clay products. It is amazing to me how many defferent expressions there are and have been through time. But my main source of inspiration is the earliest structures made by man, and they are often the religious buildings. The appeal to me as monumental pure form conveying the search of man’s belief through time. It translates the search for the divine combined with the pure joy of creating.

However my ”buildings” are mostly about houses, the forms are often joined together, twisted and turned over and around in order to create an environment. I play with connecting and overlapping in my smaller house forms as well as in my large scale work. This use of overlapping and connecting has led to the development of a module system that can be added on to and stacked easily. It is an important element of my concept”Sculpture kiln” where the sculpture itself, wrapped in ceramic fibre blanket, is the kiln. Using this system I can build pieces 4 or5 meters high in a very short time. The dramatic firing of the sculpture takes a couple of days and is an integral part of the project.

Much ceramic work is limited as to form and size by the fact that the kilns available are often no bigger than a household refrigerator. With the invention of ceramic fibre blanket the field was liberated. I have found that to be an inspiration in my work with concepts and with processes, and a means of keeping my mind in constant flow.

  I work with chance

  I take many chances

  I am so used to uncertainty

  That it has become part of my work

  I am always alert, because if I get too comfortable I lose control

  I reach into the past to grab the present

  I use clay, man’s oldest creative material

  I call the process”tracking”

我在陶艺方面的创作可以分成两部分：一是大型的景观雕塑，“雕塑窑”是在空场地上建窑烧制，这种创作的过程与最后完成的作品同样重要；二是小型的，令人感到更亲切的雕塑作品，是在我的工作里进行创作的，用不同的窑进行烧制。

我是一个对各种各样的陶艺作品都感兴趣的“陶土建筑师”。自古以来如此种类繁多的表现手法让我着迷不已。但是我的灵感主要来源于早期的人类建筑而且他们常常是宗教性的建筑，它们深深地吸引着我，因为这种永恒，纯洁的形式，承载着人类在漫长的岁月里对信仰的寻觅，讲述着创造的快乐。

但是，我的“建筑”更多的是关于房子，各部分或相连或扭曲，或翻转以创造一种新的环境。无论在我的大型作品还是小型作品中我都使用连接或者层叠的方法。我以这种连接和层叠的方法进一步发展了简单易用的模板系统。它是“雕塑窑“观点中的重要组成部分，在这里，包裹在陶瓷纤维中的雕塑本身就是窑。用这种方法，我能够在很段的时间内完成4-5高的作品，以熊熊大火烧制雕塑，已成为这项工作不可分割的组成部分。

由于窑的大小，通常不会大过家用冰箱，因此，许多陶艺作品在造型和尺寸上都受到了限制，陶纤维的发明使这一难题得到了解决。创作空间拓展了我的发现，在创作观念和创作方法上，它已成为我创作中的灵感，因为它是使我的思想永不停息的一种手段。

我的创作是随机应变。

我的创作因而变化多端

我的创作并无定法

这便是我的创作

我时时警惕，因为我不想玩物丧志

我回顾往昔启迪未来

用人类最原始的创作原料-泥土进行创作

这便是被我称作“追溯”的过程。