Monday, January 17, 2022


New oval plates at my web shop 

Monday, January 10, 2022

Sunday, December 5, 2021

Snow Globes

New items are ready for last day of Ornamo Design Christmas at Kaapelitehdas from 10am to 3pm. Now with reduced prices, since I just love the idea that these would be affordable. Come and grab yours tomorrow on Finnish Independence Day!

Tuesday, November 30, 2021

New designs available this weekend at Kaapelitehdas

This Piece of dab signature tea or coffee pot is currently one of a kind, but available as a made to order!

Friday, November 5, 2021

Ornamon Design Joulu Kaapelitehtaalla 4. – 6.12.2021

I'm part of Ornamo Design Christmas Market at Kaapelitehdas on 

December 4th – 6th 2021  
Sat - Sun 10 am -5pm
Mon 10 am - 3pm

New designs will be ready by the Finnish Independence Day weekend! During those days, my web shop will be down, since I might sell some of the listed items! New designs, all that is left, will be listed soon after the Christmas Market!

Follow the event on FB!

Finalist at Yingge Ceramics Museum, Taipei, Taiwan

The exhibition is open Oct 30th 2021 to Jan 23rd 2022 at Yingge Ceramics Museum in New Taipei, Taiwan. My Pluie cup is among the finalists and you can read the full list of winners and other finalists here. Take a peek in the exhibition on Yingge's instagram, my cup is so close to the winning design by Ann van Hoey! See the making of, a video about the making process in my previous post

Wednesday, November 3, 2021

Artist lecture at Hanasaari Nov 4th 2021 at 5 pm

Warmly welcome to see our Link exhibition by Artist O and Fiber Art Sweden at Hanasaari and to listen an artist lecture by three artists participating in the exhibition. Myself, I will talk a little about the back ground of the installation that consists of ceramic artworks and I'm going to read my writing that I've shared in my previous post. Questions answered in Thu Nov 4th at 5 pm! 

(The audience loved my writing so much that they want to publish it at I've translated it in Finnish and will be published soon. Meanwhile, you can read my lengthier texts ADOXOGRAPHY and my MA thesis on Researchgate.)

Sunday, October 10, 2021

Old rusty kick wheel made into a plaster wheel

The stones were clued on the wheel head in order to keep the plaster wheel head in its place.

Here is the sketch which I draw and which we used to build the additional wooden structures on the wheel.

It has been messy, but it works!

The form is created with a stencil and with a help of an iron scraper (helpful with straight lines).

The plaster wheel was supported by Arts Promotion Center Finland. 

Sunday, September 26, 2021


My next post is a study of how the body of discipline specific knowledge structures itself while pursuing different areas in material, and within ceramic art, and on theory. How does a body of knowledge form itself?

The common knowledge in ceramics starts with very basic study on clay, glaze, and surface techniques, and later corresponds to the desired solutions in fixing problems and consuming theory. The material research will keep its academical status while changing its surroundings from the Universities to the studios, and will start from the body of knowledge, from a professional standing point, of a post-graduate artist. Not everything should be tried hands on the material, but a lot needs to be understood, already during studies.

Specific areas of research, study, and theory consumption aims to being a professional in specific area within the discipline; unless being an professional content provider for materials and theory, all research done in the studio will reach ceramic artworks, which all of the theory will reach eventually, and for the oeuvre or a body of knowledge.

All types of knowledge will eventually reach to an wanted outcome, although it will need a communal library of material knowledge. All ceramic knowledge is ancient, old or universal, even though a personal pursuit will keep it current. To consider all the ceramics knowledge that is shared, a researching artist will be discovered, this within the material and on creating the theory.

Material based art/intellectual property rights over the material; a personal pursuit towards material creates new knowledge, if shared within networks of practice online, it will benefit not only an individual practitioner but the whole networks of practice/the whole professional field of ceramic artists.

As a hypothesis, the knowledge is firstly personal, then professional, then collective, and then personal again, when an artist becomes a knowledge seeker. The structure aims to render the types of theory contents of published articles on ceramics, and other areas such as material mind hack and their consumption as information. 



  1. Material research processes

  • information that is given

  • material research, concrete test series

  • receiving

-> gain, deepen, documenting, forwarding

-> networking

Ceramic information is given online on different platforms, such as Digitalfire and Ceramic Arts Daily. This information aims to aid all the problems in ceramics such as unstable glazes. Also other information is given, for example on surface techniques, where an artist shares their innovation in a form of an artist-tutorial. 

So, this material knowledge process starts with given information, and the test series that follows the received information, where the material research in the studios aims to bring new information for the artist and the artworks; to gain information, deepening the given information for an individual artist's studio practice, documenting the findings for a personal use or to be shared forwards the field of ceramic material knowledge. 

Information that is given online is already networking and an artist could join the conversation by citing the used information creator.

B.   Material thought processes

  • to know how things are done 

  • material mind hacking

  • taking/stealing 

-> using one’s professional mind

Material thinking processes are quite the advanced form of receiving information, since it already requires ceramic knowledge that has been gathered during studies and with personal survey. It requires knowledge on how things are done, since the ready artwork you see somewhere might not contain the info about for example the surface technique that has been used. This corresponds well when we are trying to think material mind hacking, trying to think how somebody else has thought material wise. When taking these things in your own artwork this moves in a gray area of fairness, since the technique used has not been shared fairly in form of an artist tutorial - and people fairly ever cite correctly. 

In other words:

Body of material knowledge

  1. to study -> to gain knowledge, personal

  • duplicate, observe

  • digest, test

  • adore

  1. doing research -> to gain, communal if shared

  • making test series

  • having a goal

  • wonder, achieve

  1. published own work, having discussion -> professional, communal

  • published opinion

  • to comment

  • original thought -> to forward

Professional standing point

test series, trial and error


ever expandable/basics of knowledge

On knowledge exchange

Craft knowledge has always been a communal product/action,  (Dormer, 1994 s.7) which can mean the ideologically open access to information. The ceramics knowledge is shared within the networks of practice and this highlights the practitioner-knower or the researcher-artist image; joining the private practices to the discussion of the networks. 

This, however, doesn’t cover all invented ceramics knowledge, since a ceramic artist is allowed to have trade secrets. But the material mind hack and test series that start with a trial and error might support the openness, sharing and of course the important citing of the other ceramic artist invented formula or an advanced surface technique, as done in science.

Sharing information and material knowledge that is made communicated benefits not only a single ceramic artist but the whole professional field. There is always the labourful process of seeking information, adjusting it to the studio practice and available materials, firing temperatures and the clay body.

Thursday, September 2, 2021

LINK exhibition at Hanasaari 9.9.2021 - 30.1.2022


Artists O and Fiber Art Sweden's exhibition at Hanasaari Swedish-Finnish Cultural Center in Espoo is now open 9.9.2021 - 30.1.2022 every day with a free entry. 

I am one of the 15 exhibiting artists in this exhibition, and you can read more about the exhibition theme and the full list of artists hereThe press release can be found here


Open every day 10am to 8pm, free entry

Hanasaarenranta 5
02100 Espoo

Sunday, August 22, 2021

International COFFEE CUP Competition 2021

I am shortlisted in International COFFEE CUP Competition 2021 at Yingge Ceramics Museum in New Taipei City, Taiwan. See all the short listed artists on the museum website

Here is a little video of the making process of the mishima decorated Pluie cup. The cup is made on the wheel, but not thrown exactly. I have made two of these, the other one is about to get shipped to Taiwan, but the pair is available at

Wednesday, August 11, 2021

New web shop is now open!

A good selection of hand made porcelain ware, jewelry and deco available at

The web shop and my new designs are funded by Arts Promotion Center Finland. 

Tuesday, August 3, 2021


The Makapansgat Pebble. Composition by Matts Bjolin.

12 August – 10 October 2021

"The oldest known manuport is the so-called Makapansgat pebble, a piece of jasperite that once fit into the palm of one of the oldest relatives of humankind roaming what is now South Africa, where it was discovered in 1925. What makes the pebble so interesting (apart from its clear resemblance to a face and the doubt as to whether its shape has been enhanced) is that it was found four kilometres away from the nearest natural source of jasperite, together with bones of the Australopithecus africanus that are three million years old."

I am part of this amazing international group exhibition at Taidehalli Kohta, which gathers together contemporary manuports from almost 300 artists, from 35 different countries! 

Warmly welcome to the opening on Wednesday August 11 at 4pm to 8pm! 
More info about the exhibition and the opening here.

First International Festival of Manuports was a pick of the week in Helsingin Sanomat. Read about all of the current picks here

Sunday, August 1, 2021

Laura & Katariina's Summer cook book

My oval plate was part of the photo shoot of Laura & Katariina's Summer Cook book in the chapter "Summer party" in a dish called Grilled peach salad. In the chapter they share recipes for vegan burgers and the brioche buns, the most divine white chocolate beetroot cake and wasabi pea hummus. You can order the vegan cook book from their instagram page, from the link in their bio. The book is in Finnish!

Wednesday, July 28, 2021

Bubble gum pink

Bubble gum plate (31 x 23 cm) and BAD GIRL illustrated Peculiar cups available here!

Tuesday, June 29, 2021

Artists O and Fiber Art Sweden exhibition in Hanasaari Fall 2021

I am part of Artists O and Fiber Art Sweden exhibition at Hanasaari Culture Centre Fall-Winter 2021. The opening will be August 10th 2021 and I will be giving an artist lecture November 4th 2021. More info here

The making of the artworks is supported by Arts Promotion Centre Finland.

Monday, June 21, 2021

Neon pink glitter snow globe

New works in my web shop Piece of dab

Sunday, June 13, 2021



Friday, May 14, 2021

Historical color wheels, modern color charts - and the use of both in ceramic glazes

During my studies in Aalto University I took color studies as a mandatory course. Back then I thought that my color knowledge was a natural skill and I was interested only in ceramics, rather than art theory. Ceramics was an interesting subject and I was with my nose in the books and magazines especially covering material studies. I wasn’t super stoked when cutting and rearranging colored papers at the class, but something stayed: color mixing. Later in my studies I started to mix colors in  ceramic glazes. When I started to write this essay/blog post I was amazed how many of the color wheels and other form color charts resembled the suggestions and charts on how to achieve glaze colors in a systematic order.

I have used glaze diagrams when creating my palette of over 350 different glaze colors, all of which have been achieved with a systematic working system by charts with exact percentages. In ceramics, the color metal oxides and stains bring the color to the glazes. Chromium oxide must be the second most well known (cobalt) color metal oxide since it was found in Sèvres factory near Paris and the factory has taken notes of almost everything they invented. 1 Chromium brings green (or when mixed with glaze that is content with zinc, it brings khaki colours, or with tin oxide - pink hues). With cobalt, chromium brings teal tones. The contemporary stabilized stains bring the untypical colors for ceramics from bright red to yellow. 2 The history of the stains dates back to the 18th century in France, where the color metal oxides were calcined in kilns in order to achieve stable underglazes and china paints. 3

When I researched my way deeper into the history of color theory - the times before Goethe, Itten, and Albers - I was amazed how many of the color charts (contrast to wheels) resemble charts that will guide you how to achieve the maximum amount of colors in a systematic order. I will consider the history of color wheels, but also the other types of color charts, and I will tell you how to achieve as many colored glazes in one glaze base as possible. It is easy, but labourful.


The first known color wheel was by a Finnish priest, Aron Sigfrid Forsius, dated 1611. He had a list of professions as a true renaissance man: he was also an astronomer, an astrologist, a nature philosophist, a poet and a regular handyman in science. He also published the first Finnish calendars. 4 “Among the colors, there are two primary colors, white and black, of which all the others originate.” Forsius agreed with Leonardo da Vinci, who, over 100 years before Forsius, counted black and white among the primary colors. Although, da Vinci counted yellow, red, blue and green into the primary colors as well. 5 The Forsius’ chart is organized so that the colors are either closer to white or black. The system ought to represent a globe. Later we will see another globe by another color theorist, by Philipp Otto Runge, which resembles a lot like Forsius’. 



Year 1615 flemish physician Franciscus Aguilonius or François d’Aguilon created a straight line - a color theory chart, where black (niger), white (albus), and primary colors yellow (flavus), red (rubeus) and blue (caeruleus) meet bringing secondary colours orange (aureus), violet (purpureus) and green (viridis). 6


Sir Isaac Newton was an English physicist, mathematician, astronomer, alchemist and a philosopher.  7 who created the first color wheel year 1666. He was testing with prisms and invented “ROY G BIV” colors (Red, Orange, Yellow, Green, Blue, Indigo and Violet). By the tests he made, a theory was created that the primary colours were red, yellow and blue, of which all the other colours are possible to be made. Although, I wasn’t until the  print technique was developed in the 18th and in the beginning of the 19th century when the primary colors became established. Before Newton, arab Ibn Alhazen (965-1039), fransicane Robert Grosseteste (1175-1253) and an alchemist Roger Bacon (1220-92) were testing with prisms. (Arnkil, 2007, s.20)


Richard Waller created this color chart in 1670’s and it was published in 1686 as “Tabula colorum physiologica tam mixtorum quam simplicium”. It reminds me of basic studies in painting where oil paints are mixed in a diagram, each color with each color. As well, the similar chart can be found in ceramics, where each colored base glaze is mixed with each colored glaze. In the Waller’s chart “Blue bice (montanum)” is the second color on the left side on the first row and “Cambodia (gutta gambae)” is third downwards on the left hand column. The mixture is “Popinjay green”. 8

The way of mixing colors resembles the so-called Methode 50/50 chart, where each colored laze is mixed with each one. The colorants in the glazes can be either stains or color metal oxides - and I would recommend you to use both since it is the most rewarding to get as many colors as possible. Remember to add primary colors as well as secondary colors. Any colorant will do, the more the better. We are thinking about the maximum results here. The chart advises to blend each colored glaze with 50/50 ratio to a clear base glaze but you can skip that. The saturation can be tested better with a linear blend, of which we will discuss later in the post. 


Claude Boutet was a French painter from 1700’s. He’s known for writing a “Traite de la Peinture en Mignature” which was published in 1708 where he had drawn chromatic color wheels. The color wheels are considered the oldest. 9 There’s only a few variations in Boutet’s and Newton’s color wheels. 


In the 1700's several scientists and artists were inspired by chromatic wheels and published their own inventions. Jacob Christian Schäffer, a natural scientist and an inventor, published figures that varied color wheels. The figures describe primary and secondary colors. He also was experimenting with prisms and lenses, but is still more known as a latin name for fungi and plants 10: Schaeff means Schäffer. 11

Ignaz Schiffermüller

Another natural scientist was playing with prisms, as can be seen from the illustration for his color wheel. Schiffermüller took influences from Newton's color wheel and tried to prove it correct. His attempt was to achieve the colors of the rainbow. 12


Tobias Mayer’s triangle is an alternative for color wheels. Published in 1775, the three colors (cinnibar, massicot ja azurite) 13 and their combinations bring new colors: secondary colors on the edges of the triangle and other hues in the middle. 

The triaxial blend chart will give the exact percentages and the systematic order of the mixing of three different colorants. It is possible to use primary colors (stains) on the ends of the triangle so that the edges will show secondary colors. Unfortunately color metal oxides don’t bring primary colors but for example choosing chromium and cobalt as colorants, it will bring lovely teals on the one edge of the triangle - from chromium green to cobalt blue.

I tried the triaxial blend by choosing three colored glazes from the results of my 50/50. A red stain together with grey stain brought a lovely light pink, a blue green stain together with iron oxide brought a green glaze and the same blue green with cerium oxide brought light blue. When I joined these colors into a triaxial blend, I received multiple hues of purple in the middle of the triangle.

Moses Harris published "The Natural System of Colours" in 1766. In his research he concentrated on the three primary colors and, as an entomologist and graphic artist, 14 he was interested in the relations and the formation of the colors. He explained that the three primary colors can be mixed to achieve 660 different colors. He also introduced the secondary colors: orange, green and violet. He suggested that the three colors would bring black, but it was noticed to be a very dark brown. His relations towards the color white was that it was the absence of color. He thought that Newton's color wheel and his tests with prisms were separate of what he was doing, since he was concentrating on the colors of the nature, not the prism. 15

As a painter, Philipp Otto Runge was also interested in colors and their chromatic blending. He suggested that there would be only three colors: yellow, red and blue, as he wrote in his letter to Goethe in 1806. He began to mix colors in a three dimensional form by blending them with white and black. His manuscript from 1808 was about his color sphere but also about color harmony.

Ceramic artist Gwendolyn Yoppolo has created several color wheels by using colored glazes. She gave a lecture about the subject at NCECA 2021 virtual conference. 

Mary Gartside brought a well wished female point of view to the color theory. She was an English aquarelle artist and color theorist. She published three books between 1805 - 1808. She can be considered as a meaningful color theorist between Moses Harris and Goethe, although her theory was published in disguise as an aquarelle manual. 

Goethe references Mary Gartside's theory in his publication “Theory of Colours”. She inspired Goethe especially in color combinations, in the meaning of the light and the shade when it comes to the hues, and the eye as a central position in color perception. Gartside herself references Newton and Moses Harris. 

The classification of the colors in warm, cold and light shades and, so forth, the harmony of the hues was essential for Gartside's painting and her color theory. She wrote books “An Essay on Light and Shade” 1805, “Ornamental Groups, Descriptive of Flowers, Birds, Shells, Fruit, Insects etc” 1808 and her first with a new name “An Essay on a New Theory of Colours”. 17

Johann Wolfgang von Goethe did a research on the emotional effects of colors. He published “Zur Farbenlehre” in 1808 and two years later the “Geschichte der Farbenlehre”. On the contrary to Newton’s theory, which tried to solve out the physical essence of the color, Goethe did research on how to perceive colors. The colors that the eye perceives were central to Goethe, not the colors achieved with the prism. The chemical colors (objective colors) that are attached to the objects were separated as their own sub genre. According to Goethe, the color is off the matter interacting with pure white light. 18

In Goethe’s book there are color tests, which are theory in practice. In the assignments Goethe concentrates on observation and the physiological colors. (Goethe, Johann Wolfgang von, Goethen värioppi, Ensimmäinen osa, Fysiologiset värit, Suomen Antroposofinen Liitto, Helsinki, 1980)

The primary colors for Goethe are, naturally, blue, red and yellow. Also the secondary colors, green, orange and violet are among the colors in the color wheel. In Newton’s prism and his theory the color white is the sum of all the colors, but Goethe thought that gray is the sum of light and shade. 

Goethe was also interested in after images, in so-called chromatic memory, and the simultane contrast, as in, the colors side by side and their reaction to each other. Goethe added adjectives for the colors to describe the emotional load of the colors, such as beautiful (schön, red), noble (edel, orange) good (gut, yellow), useful (nützlich, green), common (gemein, blue), useless (unnöthig, violet). 19

Gothe’s research was used even in Bauhaus, as Walter Gropius, Itten and Albers used his teachings in their own color theories. 20

Bauhaus’ own Johannes Itten did research with the contrasts of the colors on his own and together with his students. (Itten, Johannes, Värit taiteessa, Kustannus Oy Taide, 2004, s. 5) Itten was influenced by Adolf Hözel and Goethe’s color thinking. Hözel was an abstract painter, who did his abstract works well before Wassily Kandinsky, who has been rewarded as the first abstract painter. 

When Itten taught in Bauhaus in 1919-1920 he created the seasonal color analysis for fashion and cosmetics. The colors are divided into four types, as seasons. 21 He did color harmony tests with his students and came to a conclusion: light haired and blue eyed are drawn to clear colors and strong color differences. On the other hand dark skinned and featured form their colors by tinting them with black. (ibid. s. 24) I am not sure if those differences hold true, but anyway that is how he invented the seasonal color analysis. 

He also created the twelve part color wheel, because he thought that every artist should observe their colors in the exact way a musician hears the twelve notes on a scale. (ibid. s. 32) Itten tells in his book that Goethe, Bezold, Chevreul and Hözel have shown the color contrasts, but he saw that there was a lack in literature. So he would write them down and define them as follows: 1. the contrast of different colors 2. comparison of light and dark 3. cold and warm 4. opposite colors 5. simultaneous contrast 6. saturation 7. amount (ibid. s.33)

In his book (suom. Värit taiteessa, 2004) Itten tells in detail how the color contrasts work and how to work with them. He introduces a 12 part color star, where the colors blend with black and white, and also a color sphere, similar, what we have already seen with Philipp Otto Runge.

Pentaxial blend is a sum of five triaxials. Allison Cochran has created the systematic chart with underglazes by using primary and secondary colors.


Albert Munsell developed the first coded color catalog in 1910’s. 22 I believe that many of us have tried the internet phenomenon of Munsell’s hue test. On the contrary to Tobias Mayer’s theory that curated the colors to those that the eye can easily perceive, Munsell’s color chart tests the eye. 

The way of blending colors reminds me of the linear blend of two colored glazes. Originally the linear blend was invented to test the intensity of a colored glaze. It works so that on the left side you have your uncolored base glaze and on the right side you have the colored glaze of the same base. But you can rethink it: choosing two single colorant glazes on each end, or two two-colorant glazes from the 50/50 chart, or two different base glazes with as many colorants as you want.

As I have tried the quadraxial blend, and been frustrated by it, since it is not the easiest blend, I developed my own mixing chart, because I wanted to achieve as many colors as possible by a single go. To my surprise it does resemble a lot of Munsell’s hue test. The colored glaze A is mixed horizontally with color C and also down with color B, so that color A will be mixed also with color D, in ¼ ratio, in the middle of the in the middle row. It’s quite easy, it’s just hard to explain. 


“If somebody says red - - and there’s 50 people in the room, it can be assumed that in their minds they see 50 different reds. One can be sure that all of these reds are different.” (Albers, Josef, Formulation: Articulation, Thames & Hudson, Lontoo, 2006 , s. 21)

Josef Albers’ quote crystallizes the subjectivity of his color theory. 

As a Bauhausian and former student of Itten, Josef Albers taught in Weimar and in Dessau from 1923 on, until natzis closed Bauhaus and he moved to the United States to teach first in North Carolina and later in Yale. Although Albers was a craft and design teacher, he also did research on color theory and used the research in his abstract paintings “Homage to the Square”. In 1963 he published his book “Interaction of Color” where he concentrated on experiencing and perceiving the color. The book had influences from constructivists and the Bauhaus movement but the influence of the books was strongest in American art in the 1960's especially in Op art and concept artists. 23

“Simultaneous contrast is not just a curious optical phenomenon — it is the very heart of painting.“ 24

Albers' quote defines his artistic work.

In his books (suom. “Värien vuorovaikutus”, 1979) Albers concentrates on color theory and the book is one of the main sources in art education. The introduction of the book sheds light in Albers relation towards color: color is not just a physical, but also a psychological phenomenon, because color is what we see, not what it physically is. (s.7) The book says that Albers’ color theory is experimental and color is the most relatively approachable thing in art. (s. 11). The rest of the book is about cutting and rearranging color papers in different ways, such as achieving to make the same colors look different by changing the background colors, making different colors look similar, and the transparency illusion. He also introduces the Bezold effect (optical blending) and Weber-Fechner’s law (saturation).


The world famous Pantone was founded in New Jersey in the 1950's by two brothers who started a printing company M & J Levine Advertising. They hired Lawrence Herbert who eventually bought the company and named it as Pantone. 24

Pantone has succeeded to create a graphic designers’ and printing houses’ trusted company, a one of a kind color guide and a brand. You can use Pantone when searching for the glaze colors that you want. Sometimes you can find the right colors in the glazes you received in the 50/50 test tiles or you might need to start finding the right hues with linear, triaxial or by your own systematic invention.

Read more: The Pantone chart of glazes