“By studying old patterns from antique and replica shards I search for the free and playful strokes of Ming dynasty porcelain. Each pattern has it’s own way to be painted and can only be done if practiced enough to let go. ‘Ming’ translates to ‘clarity’, the state of mind I wish to be in when I paint.”

“Porcelain table to a traditional stool in wood you see everywhere in China. This one is made by the 87-year old carpenter who comes to The Sculpture factory with his wife on Saturdays to sell them.”

“By merging traditional brush painting with modern markers Italian artist Giada Yeya Montomoli and I developed a tool that bridges Eastern and Western techniques. Inspired by markers and tags Something Blue has gotten great appreciation in China for it’s innovative take on brush painting and its’ contemporary addition to the tradition of blue and white porcelain.”

Inspired by the blue and white export porcelain that traveled from Jingdezhen to Sweden by ship in the 18th century.

“The cross-pattern is painted by hand with little variations and mistakes bringing it to life but still creating a balanced pattern as a whole. Combining a handpainted cobaltblue pattern with full colour yellow goes back to the 16th century Ming dynasty pieces but in this this composition I’ve added a Scandinavian lightness although the technique is very Chinese.”

“The tradition of blue and white porcelain has evolved during centuries, always picking up on trends and often with the current emperor as the designer. The leopard pattern arrived in the 80’s so this is my version of Ming porcelain from our era.”

“The cross-pattern is a translation of the traditional indigo weaving technique ikat. Using overlaying screenprinted decals is my way of weaving with cobalt and adding the bright yellow rim brings contrast to both the blue, the yellow and the porcelain.”

“Taller than me came as a vision, scribbled down as a finished drawing. I believe it is a souvenir of sorts, a full size installation capturing the feeling of walking the streets of Jingdezhen where the street lights are made of porcelain and the vessels relate to your whole body rather than your hands.”

“This series of vases is a play on beauty + product with the shape of the bottle being the beauty itself . Functional objects can add beauty to your home and I’ve always loved the imperial yellow. Historically it could only be used by the emperor so it has a touch of luxury.”

Based on the striking beauty of brush strokes this series uses traditional porcelain painting in an expressive way. Each piece is individually painted allowing the painters to vary the composition. The collection found a big audience when launched by the Danish company Normann Copenhagen.

H: 6 - 32 cm Ø: 5 - 18 cm

“I love the bright colours of fishing floats and how it translates to the porcelain and overglaze enamels. This is the first work I made in Jingdezhen and they still make me happy - I just love those shapes.”

H: 24,5 cm Ø: 15 cm

“In 2014 I was invited to The National Taiwan Craft Research Centre to share my experience of product development with their master craftsmen. Based on their individual skills and techniques I designed a handthrown teaset with temoku glaze and a painted lacqer cabinet showcasing the design process from scratch, and how to collaborate across disciplines. In collaboration with potter Jhun and lacquer master Liang”

“A series of vases with lids that are interchangeable. A playful way to interact with the composition as the different shapes go together. Vases in porcelain with overglaze enamel, lids in turned wood.”

“As my master thesis I turned the historical paper-cuttings of H.C. Andersen into high-end souvenirs. The human fascination for portable objects in memory of a place or experience is interesting and through thorough research and development I found a way to translate the beautiful tactility of folded and cut paper into functional porcelain.”

“In 2008 it was almost impossible to find a map over Jingdezhen so I made my own version as a papercut with details I’ve seen going around. In those days there were no street signs so a got a collaborator in Mr. Wu and a few years later the map was printed and distributed as a tourist map. The map is based on personal impressions of a city where you navigate through personal experiences and memories. Meanwhile the city kept on growing and the tall building blocks that had just begun popping up in the outskirts quickly spread over the city, changing it monthly.”

An interpretation of the portraits of bejeweled emperors from the Beijing Palace Museum. Porcelain bead necklaces made in Jingdezhen and photographed with Jin, a young artist of modern China. In collaboration with Jes B. Nielsen.

A seven year long collaboration with Swedish artist Loney Dear spanning over graphics and visuals to costumes and stage design.