The mixture of age-old craft and hobby is very appealing, but the fact that you can paint on it and turn it into a three-dimensional drawing is also important. That tense moment when you open the kiln and see the results – finding out if it turned out OK, or useless – is another fascinating aspect.
In terms of subject, your works are often set in nature. However, what seeps through is human behaviour, relationships, flaws, and vulnerabilities. How do you approach that dynamic?
Nature is my closest environment, as I live in the countryside, in the woods. I find details and variations, colour, and trashiness highly inspiring. Sometimes, I wonder what my art would have been like if I lived in a big city, because my surroundings have a way of finding their way into my works. But my main interest is the second thing you mentioned above: human nature. That’s where I look for good pictures to work on in a more active way.
How do your ideas come about?
I have many sources of inspiration: films, music, conversations, everyday experiences, radio shows, the news, other art, previous works of mine that need more work, and so on. Ideas can come to me at any time, and I almost always carry a notebook.
Who are your characters, and where do they come from?
Wow, I don’t know! They emerge from ideas about relationships and situations, but it’s all trial and error from there. I try different things and see what works. Is their expression right or not? It’s important to me that they have a protean, living air about them. I want there to be more to them than first meets the eye. A presence, a gaze that works, a twist to it that feels right to me, not too artificial. I can’t put into words the precise way in which that happens. All I can do is hope that it will happen – if it doesn’t, I have to discard the piece.