My work is driven by experimentation, surprise, and the pursuit of beauty through risk. Each sculpture is shaped by forces that cannot be repeated—gravity, timing, collapse, evaporation and touch. I push clay until it pushes back. The risk is built into the process: failure and unpredictability are essential to arriving at a form that feels alive.

I work from an abandoned factory in southern Sweden, surrounded by industrial remnants and reclaimed materials left behind when production moved elsewhere. The environment is rough and indifferent. The work insists on clarity and beauty despite that context, and often because of it. My process is intentionally unforgiving: many forms are made, few survive. Anything predictable, dull, or resolved too easily is discarded and recycled.

The sculptures operate at the scale of the body, holding space with an architectural presence. The stacked assemblages reference the universal act of balancing stones without imitating any specific landscape. They carry the weight, calm, and presence of natural formations without disturbing the ecosystems that inspire them. The porcelain vessels are shaped by gravity, kinetic energy and timing: I condition the material in a demanding and precise process then lift and drop it in a single quick irreversible motion, and once the gesture lands, nothing is corrected.

Influenced by a modernist sculptural lineage—Noguchi, Brancusi, Barragán, Corbusier—my work merges essential form with post-industrial conditions of reclamation and scarcity. Each piece is a singular event, a record of material truth captured in permanent form.

I’m interested in the tension between control and spontaneity—how a minimal set of decisions can shift an object’s presence in space, how light activates a surface, how scale transforms the body’s experience of form. Whether intimate or room-sized, the work is meant to bring a space alive, inviting a calm, meditative attention and a sense of curiosity.