Thursday, October 1, 2020

Saturday, September 12, 2020

Tuesday, September 1, 2020

Tea pot


Made to order on a vintage tea pot for a friend as an exchange for our exhibition text translated to Swedish. Limouges gilding, rococo and little bit of Victorian era Cthulhu, for fun, china painted.

Thursday, August 20, 2020

Conservation of ceramics

I started studying conservation of inorganic materials in Metropolia, Helsinki.

Tuesday, July 21, 2020

Saturday, July 4, 2020

Ornamental vomit

huge amounts of blanc
hand engraved, craving for engraving more

reminiscing my last commission
stach of my possession/endless supplies
would it still be better with lack of it
or unique

manifestation of minimalism

fuck I even decorated my fucking marginals
haute couture/embroidery

tight schedule/balance
mimicry/last season
nouveau the fucking deco!
de deco and then re deco


function of the aesthetics
labeaurful arts and crafts movement
draft/aint nobody have time for that
time or money

mostly fuck ups and no regrets
fuck its, fuck nots, fuck withs
and fuck thats


recommendation for decoration
symmetry/odd numbers or dots
fi and spiral

taste trials and exhibitions
i got a ribbon but got rid of it
too decorative/temporary state of mind
that was the most gold i could find/with that amount of money
era that couldn’t get any gildier
only style of fashion that would have a name without a manifestation

overdressed or maybe sequins
neo punk and safety pins
you can stick that ornament in your septum 


figurine, reducement that never ended, a blob
no guarantees, insurance companies for this creative economy era 
fuck, no body renders that amount of your decorative
self made


well like figurative
gain, the figurative gain/no money
mostly for decorative purposes
flowers, tapestry, some sort of a stencil
laser cut

finer the cut the better the machine
gentle touch
surface, treated
treat your mind like fucking Photoshop! layers
final draft
as said no body has time to do test series either
body of knowledge/professionalism

mind hack
like any Illustrator
how-tos, know-hows, i won’t tell yous
trade secret
immaterial property rights over your curve

your decorative produce just exploded in my hands
my intellectual insurance company doesn't cover that either
depuis & buibut

Friday, July 3, 2020

Porcelain in Germany and France

(from E. Coopers book of Ten Thousand Years of Pottery)

“Porcelain was made in China as early as the Tang dynasty (AD 618-907) - - the richly painted decoration of Chinese porcelain were greatly admired in Europe, where it was widely collected by members of the aristocracy. - - brought over from China by various East India companies throughout the seventeenth century - - ” (s. 160)

Hard paste is considered to be real porcelain but before kaolin was founded the wares were made out of soft paste porcelain. (s. 161)

“The first European porcelain was produced under the patronage of Francesco I de Medici, Grand Duke of Tuscany in Florence in the late sixteenth century.” but it only had a resemblance of Chinese porcelain. (s.161)

Porcelain developing factories enjoyed patronage of royalty and rich members of aristocracy since they had an access for finest wares. Some had a vast collections of oriental porcelain and those were examples of inspiration for potters. (s.162)

In Germany an alchemist Johann Friedrich Böttger, together with scientist Ehrenfried Walter von Tschirnhausen, managed to create a red clay body -  and finally porcelain

“On the basis of [Böttger’s] discovery the Meissen factory near Dresden was established in 1710 - - for the use of the royal family.” (s. 162)

Böttgers successor and colour chemist Johann Gregorius Höroldt advanced more refined porcelain body which abled vases, copies from Japanese originals, and tea and coffee services. He increased a selection of colours and chinoiserie scenes. (s. 163)

“The finely modelled and painted figures and table services produced at Meissen from the early 1730’s established the factory’s reputation as the foremost producer of porcelain in Europe. The dining tables of the wealthy had traditionally been decorated with small figures modelled in either wax, sugar or gum by cooks and confectioners, but demand for objects of more permanent nature encouraged production of the first porcelain figures at Meissen in 1727. - - “ (s. 163)

Johann Joachim Kaendler was a chief modeler in Meissen in 1733 and created lively figurines such as Harlequin, Columbine and Scaramouche. (s. 163-164)

In the rococo era, royals had often rooms dedicated for porcelain collections, for example a chinoiserie in Charlottenburg Palace in Berlin.  (s. 165)

When Meissen factory opened, the porcelain manufacture was kept secret. The formula for white porcelain remained a Meissen secret for forty years. In 1719 two Meissen craftsmen revealed the secret to Vienna, the factory was bought by Empress Maria Theresa in 1744. (s. 165)

Other German porcelain factories were Nymphenburg and royal porcelain factory in Berlin. (s. 165)

In France the tin glazed ware copied the Chinese porcelain and Japanese Arita ceramics. (s. 166)

Vicennes-Sèvres had become the national porcelain factory of France. The royal prefix was granted after admiration of Madame Pompadour in 1751. (s. 167)

“In 1769 the discovery of deposits of china clay (kaolin) at Saint-Yrieix, near Limoges, enabled hard paste body to be produced at Sèvres that was claimed to contain no frit, alkali or lead - - In the aftermath of the Revolution the Sèvres factory was taken over by the State in 1793 and in 1800 Napoléon Bonaparte appointed as its director Alexandre Brongniart.” (s. 169)

Pâte-sur-pâte (s. 170)

The earlies porcelain production was made at Strasbourg in 1751-1754. In the eighteenth century Limoges became the centre of the French porcelain industry, using of the local kaolin supplies. (s. 170)

(continues with porcelain in Italy and Spain, Scandinavia, Russia, Britain and Ireland)

Thursday, June 25, 2020

Prehistoric ceramics

Earliest sherds or fragments in soil found in China dated 12,000 or even 18,000 years ago, and a Czech Venus figurine of Dolní Věstonice as earliest ceramic finds dated to 29,000–25,000 BC. However, earliest ceramics finds in Japan of Jōmon period, currently has the oldest pottery in Japan dated as early as 14,500 BC. Siberia, Japan, China and Sub Saharan Mali has finds of same age.

Paleolithic ceramics are meaningful when trying to determine the era and how people lived, moved and evolved. The paleolithic era was followed by mesolithic and neolithic periods in Eurasia. Mesolithic and paleolithic eras shifted in different times in different areas.

Ceramics of Jelšan was in the mesolithic period, and the culture was possibly the earliest ceramics within Europe, 7100−5500 BC. They found their clay from ponds and made the vessels more porous by adding organic material in the clay. They fired their ware in an open fire in low temperatures.

Early ceramics in Korea is called Jeulmun pottery period 8000–1500 BC or Korean neolithic. Jeulmun means comb patterned.

Upper Volga ceramics is first Russian early ceramics complex that begun 6200−6000 BC. Valdain ceramics is early too, and so is Serteja Rudnjan.

Early comb ceramics were paleolithic, dated after Weichselian glaciation (last glacial period) in Russian Carelia, Fennoskandia, East Baltics and North West Russia. Developers and potters were hunter gatherers. The objects have been dated with radiocarbon dating to 5500−5400 BC. The small comb ceramic objects have been as small as cups and the large ones up to 70 litres, rarely though. The clay was thick and coarse and decorated by using stamps made of fish backbones, yarn wrapped around a stick, or an edge of a wooden object. This is considered as early comb ceramics since comb was quite rare as a decoration method.

Typical comb ceramics (4300 BC) was what is considered as comb ceramics by it’s comb (and dot) decoration method. Comb ceramic culture 4200 BC to around 2000 BC shows that hunter gathering and early agriculture may have been sources of livelihood side by side. The culture is from the area that spoke fenno-ugric language and the ceramics are first ceramics in Finland. Though there was an eastern (Kama), western (Säräsnimi and Järkälä) and middle (Ljalovo and Volsovo) comb ceramic cultures. A found of fragments was painted black with hematite.

Pitted ware culture was a form of early pottery that was made at the same time with comb ceramics, but this in Ahvenanmaa and south Sweden areas where they hunted seals in paleolithic era.

Textile ceramics.

Asbestos was later used mixed in the clay, 3900–2800 BC until 1800–1300 BC, which abled thinner structure for pots, but almost no decoration. Finds of copper objects next to the asbestos vessels has predated bronze age by 500 years. Kierikki’s and Pöljä’s ceramics as examples.

Iron age:

British neolithic is grooved ware and Mediterranean neolithic (6000–4000 BC) ceramics is called cardial ware, that was decorated with a seashell. Whereas, linear pottery culture in central Europe was different.

Lamps among pottery:

Saturday, May 30, 2020

Sunday, May 24, 2020

Sunday, May 17, 2020


Saturday, May 16, 2020

Saturday, April 25, 2020

Welcome to the real life according to somebody else at Galleria Rantakasarmi 2020
15 polaroids and 337 glaze test tiles

Ease out/Rose leafs, gouache on plywood, pâte à modeler autodureissante, 2020

Thursday, March 19, 2020

Salons, manifestos, sociétés and movements

The Salon was held at Louvre, too. Every inch of the Grand Salon was covered with artworks, and it even sparked new artwork describing the venue. The writings of the exhibited pieces is considered to be the start point of modern art critique. That was where an ideal of realistic approach was heavily considered. 

After complaints of the rejected, Napoleon III wanted to give room for the turned down Impressionists and their art as well, and so they formed the Salon des Refusés. This was considered the birth of avant-garde.

Vienna Secession or the Union of Austrian Artists was formed 1897 by artist, designers and architects in the Art Nouveau era, whereas in London Arts and Crafts Exhibition Society formed in 1887 was to promote decorative arts. The founding president has said:

“We desired first of all to give opportunity to the designer and craftsman to exhibit their work to the public for its artistic interest and thus to assert the claims of decorative art and handicraft to attention equally with the painter of easel pictures - - good and bad art, or false and true taste and methods in handicraft - - in whatever material, seeing that a worker earned the title of artist by the sympathy with and treatment of his material, by due recognition of its capacity, and its natural limitations, as well as of the relation of the work to use and life.”

President as well, William Morris gave spark to a movement that underlined handicraft in printed material, as an outgrowth of Arts and Crafts Movement.

After a famous painter’s Akseli Gallén-Kallela’s artwork, a group of artists got together in a  Symposion gathering (hanging out with a sphinx). They spent a long evenings at restaurant Kämp, searching for renaissance for Finnish spiritual life, new powerful existentialism placing melancholy of decadence, late nights until the next morning (drunk.) 

Société Anonyme, Inc. was formed in 1920 by Katherine Dreier, Man Ray and Marcel Duchamp. They were a publishing platform for everything about modern art, before the Museum of Modern art was founded.

Japanese folk art movement, Mingei, was founded between late 1920’s and 1930’s. Promoting hand crafted art and functionals made by ordinary people, anonymous and unknown craftsmen. Headman Yanagi Sōetsu’s book “The Unknown Craftsman” was released in English in 1972, and was quite remarkable when it was released. It was about appreciating art and beauty in everyday objects.

“If you believe you have genius, or if you think you have only a brilliant intelligence, write the Letterist Internationale.” Paris based avant-garde movement that got together between 1952 and 1957, a blend of intellectualism, protest and hedonism and  might be viewed as French approach to the Beat Generation.

Psychogeography is an exploration of urban environments that emphasizes playfulness and drifting in the city. The artform has links to the Letterist and Situationist Internationals, influenced by Marxists and anarchists and Dadaists and Surrealists. The main point is a playful and new strategies for exploring cities.

In 2011, Luke Turner published The Metamodernist Manifesto”. Turner described metamodernism as "the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and elusive horizons”. In 2014, the manifesto became the start point for LaBeouf, Rönkkö & Turner's collaboration, after Shia LaBeouf reached out to Turner after reading the text, with the artists started a series of metamodern performance projects exploring connection, empathy, and community across digital and physical platforms.

Wednesday, March 4, 2020

Artist lecture March 12th at 5 pm

KXX5 in triaxial blend and other info shared on Thursday March 12th in an artist lecture that covers immaterial property rights over material, communally shared ceramic knowledge and open source mentality within ceramic art at Galleria Rantakasarmi in Suomenlinna. You can read a little bit from the lecture subjects from here.

Thursday, February 6, 2020

Welcome to the real life according to somebody else

Artist lecture on the open source mentality in material and within ceramic art on Thursday March 12th 2020 5 pm.

Wednesday, December 18, 2019

Vase à tête d'éléphant

I visited Metropolitan Museum of Art in New York City and I found three of these vases/candelabrums"Silly as a level I haven't yet understood silliness to be." I was stoked. Manufactured in Sèvres, sculpted by Jean-Claude Chambellan Duplessis in 1758 in soft paste porcelain, china painted by possibly Pierre-Louis-Philippe Armand or somebody else and gilded. Purchased by the Prince de Condé in December, 1758. The two other vases that completed the the collection are now in Louvre. Louis-Joseph de Bourbon, Prince de Condé (1736-1818), kept the garniture in his Parisian residence, the Palais de Bourbon. These too.

Monday, November 18, 2019

Thursday, October 17, 2019

Tuesday, August 27, 2019

Piece of dab

Porcelain shop Piece of dab

Thursday, August 1, 2019

Thursday, July 25, 2019


"Also major importance, however, was the rise of the porcelain, which Dutch merchant ships brought form China in ever greater quantities to sell in the European markets. Because of the high prices, efforts were being made to manufacture porcelain within Europe. Of great renown are the faiences of Delft where, as early as the beginning of the 17th century, several factories were set up that soon moved beyond producing the blue shades to polychrome ornamentation, more closely imitating the Chinese models with decorative flowers and plants.

In Germany, Johann Friedrich Böttger (1682-1719), the hard working alchemist who desired to produce gold, spearheaded a similar development. Böttger and two colleagues in 1707 were the first to create a hard porcelain pot. - - the Meissen porcelain factory was built up, which from about 1740 enabled Meissen porcelain to reach its greatest heights. The leap from manufacturing pots with artistic embellishment to the creation of figures was driven forward in particular by Johann Joachim Kändler (1706-1775). Delicate sheperdesses, miniature cavaliers and fine petite ladies characterized the Rococo period.  In the same manner, iconic interior decoration can now be viewed as a product of the Rococo style.

Rivalry between the courts produced a whole series of porcelain factories, for instance Vienna, Berlin and Ludwigsburg, Chelsea in England and Capodimonte near Naples in Italy. In France, Sèvres took the leading role from 1756. There they adhered to technical principles and produced a more vitreous, more transparent porcelain which contained lead and, because of the gentler firing, allowed a greater range of colours. It was used less for tableware and much more for the manufacturing of luxury vessels. - - 

The ways in which porcelain was suited to the forms of Rococo decoration are illustrated by this ability to harmonize with changes in artistic conventions. It was intended for use in the inner rooms of the courts and big houses, and if these were to be decorated in the right fashion, then the architectural ornamentation had to be in tune with it." (continues with furniture)

Rococo Charles, Victoria & Carl, Klaus H. 2010 Parkstone Press International, New York, USA