Entre aide
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Entre aide, Installation view, 24 m x 0,80 m, glazed ceramics and porcelain, 2021
Institut Francais de Berlin


TXT, ceramic, glazed, 250 pieces, variable dimensions

TXT, ceramic, glazed, 250 pieces, variable dimensions

TXT, detail

TXT, details

TXT, detail

TXT, details

TXT, detail

TXT, details

TXT, detail

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It matters what stories we tell to tell other stories with; it matters what concepts we think to think other concepts with. Donna Haraway 

In this work - TXT - it is not about what "message" is conveyed, but how one conveys a “message," what lies behind language itself as a medium.
I am developing my own language here, creating my own tool for thinking (underlined by the fact that I have made this "alphabet" in ceramics, I leave traces of my own hands, my own body) because the existing language is already occupied.
La langue, cet immense préfabriqué qu’on se passe de génération en génération. Henri Michaux - and facets of experience are restricted.
The construction of freedom arises through alienation - alienation as a strategy to create new worlds.
The point is to think beyond the existing standards of language.
The form of the text is itself a composition of 250 lines of ceramic - sometimes single, sometimes several - that come together or interact with each other.
Like choreographed dancers. The structure of the text itself is transformed through the act of "writing" on the wall and in the end becomes freer, more open.
A language where there is room for interruption or stuttering, where pause, interruption, dizziness, echo or repetition have a place. 

Fotos Katja Illner

TXT variation 1

TXT, ceramic, glazed, 56 pieces, variable dimensions

TXT variation 2
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Does this text wish to communicate something that language cannot?
How does the unspeakable express itself?
Why does one make things without purpose?
Does everything have to be useful?
Can we be human without language?
How does one express oneself when one is not a subject?
How do we address the unknown?
Does something else appear when language disappears?
Is it a language, is it a drawing?
How can we write what we cannot express?
Does everything need to be understandable?
When language frees itself from its content, what’s left over? 

A sound, fun. 

What if the object itself can feel desire?
Is it perhaps an erotic text? 


Ephiphanie 1, 2018, ceramic, glazed, 46 x 32 x 26 cm

Ephiphanie 2, 2018, ceramic, glazed, 37 x 25 x 22 cm

Schichten, 2017, ceramic, glazed, 38 x 58 x 14,5 cm

Szuru buru szuru buru

Ecke, Platin on porcelain, plastic wax, ceramic, glazed, stell, 67 x 73 x 73 cm

Steel, rubber, wood, brush, glazed ceramic, platin on ceramic, 496 x 46 x 16 cm

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In this installation, different stages of a process become visible:

  1. Production remains lie on the floor
  2. Ceramic moulds are placed in a bracket that holds them until they can be used
  3. Foundation stone, the source of an architecture 
Tabula Rasa (Die Putze)

Blauer Besen, 2017, ceramic, glazed, brush, 7,5 x 106,5 x 10 cm

Suzanne, 2017, ceramic, glazed, 19,5 x 67 x 19 cm

Die Putze, 2017, ceramic, glazed, 36,5 x 66 x 60 cm

Astrid neben mir, 2017, ceramic, glazed, 19,5 x 43 x 16,5 cm

Laura im BBK, 2017, ceramic, glazed, 18 x 41 x 27 cm

Ecke mit Silber, 2017, ceramic, glazed, 81,5 x 64 x 68 cm

Ecke mit gelb, 2017, ceramic, glazed, lighttub, cable, plastic wax, 86 x 52 x 53 cm

Ecke mit Rosa, 2017, ceramic, glazed, lighttub, cable, plastic wax, 76 x 68,5 x 56,5 cm

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Up until 2017, I mainly worked on a series of ceramic objects that are reminiscent of body parts. Metaphors for human poses, heavily loaded by gravity, standing (/lying/ leaning/collapsing together etc.) the objects in space in different contexts. 

Tabula Rasa (Die Putze), 2017, Artist + Art Lab
Here, in this exhibition - in which I conclude this series - I have arranged piles of ceramics on the floor as if they had been swept away. The sculptures are glazed with a wiping technique which, when fired, gives the impression that the sculptures surfaces have been cleaned. Cleaning, reducing, developing by subtraction, to create in order to give emptiness its own space, espacifier, tabula rasa, robbing, coring, to add and to remove until the act of removal becomes visible. 

Foto Mick Vincenz, Otto Felber

Berverly Chills

Fat standing Pile, Porcelain, glazed, 66 x 19 x 29,5 cm / Standing Pile, Porcelain, glazed, 72 x 32 x 26 cm

Pile with spikes, ceramic, glazed, 82 x 26 x 34 cm

Corner pile with spikes, porcelain, glazed, 86 x 42 x 36 cm / corner pile, porcelain, glazed, 75 x 38 x 32,5 cm

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In this installation, amorphous forms lie about, positioned in front of a graffiti-covered tiled wall, like people waiting for the subway or chilling at the edge of the public pool. The graffiti was applied to the tiles as a layer of glaze and then fired. The ephemeral nature of urban graffiti was preserved by the firing process.

Power Stability Coordination

The outsider, 2015, ceramic, porcelain, bandage, 105 x 100 x 19 cm

Sea the stars, 2013, ceramic, glazed, string, 78 x 85 x 9,5 cm

I am what i am, 2013, ceramic, glazed, steel, 19 x 46 x 98 cm

Go man Go, 2013, nutritional supplements, platin on glazed porcelain, 105 x 25 x 8 cm

O.T., photography

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The words, “Power Stability Coordination,” are reminiscent of a self-invocation used to avoid insecurity or to convince oneself. They could also be the words of a coach before a boxing match, being about performance and fighting, but also exhaustion and failure. 

Single pieces

The gravity factor, 2013, porcelain, glazed, 60 x 45 x 18 cm

Werkstatt statt statt, 2014, porcelain, glazed, tool hanging system, 7 x 86 x 7,5 cm

O.T., 2016, porcelain, glazed, 100 x 77,5 x 21 cm

Ordnung Struckturen, 2016, Metall, four ceramics, bandage, 110 x 105 x 12 cm

Piece 9., 2014, ceramic, glazed, 21 x 63 x 43 cm

COSY-POLLY-SOFT-TEX, 2018, steel, brush, Fossils, 190 x 60 x 40 cm

COSY-POLLY-SOFT-TEX, 2018, steel, brush, Fossils, 190 x 60 x 40 cm

Weltatlas, 2012, book, bronze, 38 x 32 x 12 cm

Tableau de chasse

Piece 7., porcelain, glazed, 75 x 24,5 x 68 cm

Piece 11., porcelain, glazed, 27,5 x 65 x 32 cm

Piece 3., porcelain, glazed, 17 x 39 x 74 cm

Piece 6., ceramic, glazed, 20 x 77 x 41 cm

Piece 1., ceramic, glazed, 25 x 55 x 41 cm

Hunting dogs, photography, 2013

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Le Tableau de Chasse (in English “Tally”) describes the arrangement of all the animals shot after a hunt. In this installation, ceramic and porcelain sculptures lie on a table resembling an assembly line, in an exhausted, almost already used, discarded state. 

Le principe des vases communiquants

Mental Focus, 2013, ceramic, glazed, string, 63 x 21 x 85 cm

Shard mind Ahead, ceramic, glazed, 43 x 35 x 7 cm

Mass 7000, ceramic, glazed, textile, plastic, 31 x 39 x 103 cm

Bogen 2, 2013, ceramic, glazed, 38 x 48 x 12 cm, foto Torben Hoeke

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In the changing room of a former swimming pool, I staged a dressing room, a space between things, in which one leaves things behind. Clothes, body parts, and prostheses are brought together there for a moment. 

Atelier Views