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For many years, I have worked with the invisible, assembling atoms and designing molecules through experiments to create new medicines. Creativity was expressed through technology at a microscopic scale. When I started working with clay, the invisible became visible. I could see what my hands were touching. They were forming shapes that my brain was designing. Suddenly my creativity jumped to the macroscopic world, it was liberating.
Experimentation is still a big part of my studio practice. I love to explore new techniques, to develop new skills, to experiment with texture and glazes. The scientist in me wants to stretch the limits and discover new solutions. So does the artist. Working on a new form or a new design thus becomes an incredibly stimulating exercise where problem-solving meets an artistic vision.
My inspiration is mainly visual in nature. I found that I am sensitive to shapes, geometric patterns, and contrasting colors. Probably a consequence of years of looking for patterns in a sea of random scientific data. Often visual cues stimulate my imagination and find their way in my work in some form or another, be it the shape of a curve, the number of lines, or the choice of color combinations.