Breaking with the smooth white surface in order to induce tension is something one is not used to from industrial processed porcelain. This new perspective is appealing and intimidating at once. Just as the fear of the white paper, it is also challenging to work with fresh raw porcelain mass at the very beginning. These doubts had to be put aside in order to systematically test different ways of working with porcelain. The focus of this studio project was set on surfaces and colours.
material properties, procedures and kilning are particularly helpful in the beginning. The daily work at the studio continuously testing and thus improving the results and skills was an enriching experience which enhances everything one already had learned from books and notations. The outcome will be instrumental for further product lines and projects in the future.
the material study at the studio the first thing to do was taking the porcelain out of its broader context and to focus on analyzing its material-dependent characteristics. To identify the limits of working with the material was the higher goal of the work at the studio. The casting slip Mont Blanc produced by Wittgert was used for the entire study. It has a kiln range of 1250 to 1350 degrees and has a distinguished snow-white body.