Thursday, April 29, 2021



I am part of this virtual art exhibition that The Holy Art London is having April 28 - May 5 2021. My works are in the Exhibition Room III on the first wall!

"Veera Tamminen debuted with her first solo exhibition “Po & Po (Polaroid & Porcelain)” 2015 in Gallery Katariina's Studio for Helsinki Artists' Association and she has had four solo exhibitions in total solemnly in Helsinki.

Her works have been exhibited in several group exhibitions both abroad and in her homeland. She was one of the four young ceramic artists exhibiting at Arabia Art Society's Gallery in 2013 and she was a part of a juried ceramics exhibition at the Ludwigsburg castle, Germany, 2014. She was participating in the exhibition of Finnish contemporary ceramic art at Helsinki Designmuseum in 2014-2015.

Her art covers aspects of consciousness, mind envy, and psyche, also psychosis and domestic violence. Sometimes smoking, but always of the structures of the mind."

The artworks above are for sale for £217. 

Wednesday, April 21, 2021

Saturday, April 3, 2021


I have added a new section to my web shop Piece of dab, where you can buy my artworks.

Saturday, March 20, 2021

Friday, March 12, 2021

Venus brooches at Piece of dab SHOP

Venus brooches available at Piece of dab porcelain shop. These brooches were exhibited at the Louvre in a performative piece I did back in 2014. Brooches are made out of porcelain and china painted.

Tuesday, February 23, 2021

History of porcelain (in close relations of how it arrived to Finland)

(based on a book Antiikkiposliini Suomessa by T. Tarna, 2012)

Cobalt blue
In the 900th century blue appeared as an ornament in Persian faience, where the cobalt was found. They transported it to China, where the workshops produced blue porcelain for Mid Eastern markets in 1300's. In 1602 the Netherlands took the European market as their own when the East Indian Company was founded. Only royals could afford porcelain. Kristiina, the queen of Sweden, had 300 cobalt blue porcelain objects. The blue and white ware was a ruling style in Ming Dynasty (1368-1644).

For those who don't know, Finland was under Sweden rule from 12th century until 1809.

In order to show is porcelain collection Ludwig XIV ordered a Trinanon de porcelaine for the gardens of Versailles, which was an example for the chinoiserie fashion. Sweden had their own East Indian Compnany as well in 1731-1813 and they shipped 132 cargos of Chinese objects to Göteborg harbor. First the objects were merely for decorative purposes but around 1700 they shipped metal prototypes and drawings since so they could show what kind of tableware was used in European kitchen. Because of the Swedish East Indian Company now also the upper class could afford porcelain such as tea and coffee sets. Famille rose ware became famous in 1730's in the Rococo era.

Cousins Sweden's king Kustaa III and Russian empress Katariina II did politics with porcelain gifts in 1777. Chinoiserie was still in fashion: pavilions and tearooms were built in castles all over Europe.

Famille rose
Chinese name for Famille rose ware is 'yangcai' for foreign colours or 'fencai' for pale colours. Famille rose is decorated in European style in pink. The gold chloride which was used in the pink enamels was found by German Andreas Cassius in 1670 in Leyden. (Qing Porcelain – famille verte, famille rose, M. Beurderley, G. Raindre, 1987, s. 90-91)

First porcelain
In 600's the Chinese added first kaolin into their clay body and fired it higher. In Japan, thousand years later, in early 1600 because of Korean masters. Europeans started to order Japanese illustrations (imari) on Chinese porcelain ware in 1730.

In Europe the ceramic manufactures, and even emperors, tried to buy the recipe for porcelain from the Chinese but they needed to make research on their own. Germany succeeded first. The manufacture in Meissen was founded 1710 and they were ready for production in four years. The china painters had 16 colours, and after imitating Japanese Kakiemon -flowers the Viennese master painter Johann Gregorius Höroldt started to paint German flowers in 1730. 

Although, Germany was first to achieve porcelain, the French were first to find chromium and to add it in chinapaints, stains, underglazes and glazes. The Germans didn't until 1814. The French found porcelain in 1740.

La maladie de porcelaine
Ludwig XV gave Sèvres porcelain as political gifts, and so, he gave Kustaa III a turquoise bird set in 1771. Empress of Russia Katariina II made an order from Sèvres and it was the most expensive tableware set in 1778 of which 600 pieces were ready before the French Revolution. After the revolution Napoleon ordered the factory to make empire objects. In Finland the porcelain sets became usual in mansions and among the bourgeois in the late 1800th century. In 1975 and 1980 queen of Denmark Margareeta and the government followed the tradition of giving gifts and gave president of Finland Urho Kekkonen Flora Danica -service as a birthday present.

Cocoa and coffee sets
Cocoa was first of the indulge-stimulants to arrive in Europe from South America. The cup for that warm drink, which even doctors recommended for trembles, had two handles and a trembleuse. Coffee came second, from Ethiopia via the Islamic world in the 1500's. In royal courts coffee became a thing after the Turkish ambassador brought it to the French court. Ludwig XV started his morning with coffee and soon after it was enjoyed during the day. Porcelain sets were made for one (déjeuner solitaire) or for two (tête-a-tête). Both Vicennes and Sèvres had those coffee sets in their collection. In the 1830's Sèvres brought a three storey cake plate to the markets when coffee drinking became more social. In Finland the high class drunk coffee from the early 1700's. The coffee sets used in Finland were brought by the Swedish East Indian Company, the sets being the major import. The European handles for the cups were attached in the mid 1700's. In Sweden, coffee tea and cocoa was banned in 1756. 

In his book, Tarna describes a couple of movements within porcelain manufacture with a soup tureen. The tureen was the center of the table setting and was brought to the tables after Ludwig XIV court's dining fashion, service á la francaise. The rococo tureens had vegetable and game decorative details and they described what kinds of stews they were serving. The tureens were ordered from China and the East Indian Companies brought them to Europe. In the 18th century the Northern style of kustavilaisuus (after European neoclassicism) brought more simplified decorations.

Porcelain and decal transfers in England
The manufacture of porcelain in England begun in three factories in the mid 18th century. Whereas the factories in France and Germany were under the royal rule, the English factories were established by businessmen. Soon, the hand painted decorations were yielded because of ceramic transfers. Also the forms were changing for the decals, as simpler and less curvy. Josiah Spode invented bone china for production in 1793. The English methods were used in the Swedish Gustafsberg porcelain factory.

High tea
The East Indian Companies in Netherlands, in Sweden, and in England brought tea from Canton, China. During Autonomy in Finland, after Russian example, all classes started to drink tea. The tea sets were made in Russia. 

A remarkable industry man at his time, Peter Johan Bladh, an politician and a economist, got into a board of Swedish East Indian Company as a solemn Finn. He joined four times for the Göteborg-Canton sails. He worked for the Company for 20 years.

Rörstrand founded Arabia factory in Helsinki in 1873, and Arabia bought Rörstrand in 1927. First the factories manufactured the same collection of tableware. The goal was to get to the Russian markets. In the beginning of 20th century Arabia started to make their own designs. Copper plate transfers were the main method for decoration but also hand painted lines. In 1942 Friedl Kjellberg found how to create rice porcelain ware.

Russian porcelain
Kuznetsov factory porcelain ware were sold in their own shops in Finland in the turn of the centuries. The Imperial Porcelain Factory (after the Revolution Lomonosov Porcelain Factory) solved out the secret recipe for porcelain in 1744. Sculptors and decorative painters graduated from St. Petersburg Academy of Arts and they were hired to the factory. The production of the National tableware Gurijev begun in 1809 during Aleksanteri I reign, although the factory was the busiest during Nikolai I reign, since services were ordered for coronations and several palaces. 

The first private porcelain factory Gardner was founded in 1766 by English timber sales man Fransis J. Gardner, but was later sold as a part of Kuznetsov corporation. Sales man Alexei Popov bought a porcelain factory in 1811, that was founded by Karl Melli, who had worked at Gardner. The factory had their own laboratory for finding glazes and stains. In the 19th century there were several porcelain factories. The Kuznetsov factories got the Grand Prix from Paris Exhibition Universelle in 1900 and the Imperial suppliers title in 1902.

The National Museum of Finland has one of the worlds largest collection of Russian porcelain outside of Russia, over 1100 objects.

Saturday, February 13, 2021

Wooden tools

I collect wooden tools. Tape measure is from Los Angeles. Calligraphy pen for mishima and sgraffito is from Hamina city museum's shop, where we had a couple of days training. Wooden sticks on the right are form Paris as well as these tiny rolling pins.

Friday, January 29, 2021

Thursday, January 28, 2021

100th post, recipe and a giveaway

This is the 100th post on my blog. Thank you everybody for reading. Since this is a celebratory moment, I have something special reserved for you:

I created this recipe while I was an exchange student at The Ohio State. It is based on my teacher's recipe, but the formula had kaolin in it, and I wasn't super excited about the pastel outcome. So I made a little betterance so it would resemble watercolor under glaze rather than gouache. We at The OSU had a publication for NCECA 2012 where I shared this formula.

cone 6

40% stain
10% wollastonite
50% frit

mix with water, 10g batch is enough for one button

5-7 drops of gum arabic
2 ml syrup
and glycerin until your brush slides nicely

let it dry

I would prefer ferro frit, or any other frit that melts as a clear glassy outcome. Do not apply on the bottom of your pots because it will vitrify. Any extra glycerin you have bought form apothecary, you can use in your glazes. It will make it easier to brush on bisque.

And news first: 
I got an ateljé from Kera, Espoo. I'll be working there part timely as I study restoring/conservation at Metropolia full time. 

I have cerulean blue stain, three buckets of it, that corresponds quite close to Pantone 2237 C color. It works very well in glazes and in slips. I decided that I want to give away, as much of it as I can, in 200g batches per person. The pick up will be held at reserved times at Kera, Espoo, Finland or under Stockmann's clock. Contact me with email veera.s.tamminen (@) I currently can't ship the powder in mail because it will be everywhere when the bag and the envelope fails. As an exchange I wish you to donate 5€ for Unisef

If you want to try the recipe for underglaze watercolors, I have spare mystery frit too. It is a mystery since I haven't yet fired it as a test. Just email me, if you want to pick up that as well! 100g per bag.

Friday, January 1, 2021

To read 2021

I bought it but yet haven't really read it.

I read it and did a summary on our English class.

Half read, half live tweeted.

A loan from Aalto library but there's always so many reservations.

Thursday, December 17, 2020


Tuesday, December 8, 2020

Vase à tête d'éléphant

in production 1758–62

The elephant head vase has been made in the Sèvres manufacture on the edge of Paris’ spiral. All manufactory founds has been written down in factory notebooks so can be found that porcelain was found when kaolin deposit was discovered and that chromium was used to achieve pink and green colours in glazes and china paints.

Before porcelain (hard paste) pâte tendre was used, and since it was fired lower, lower firing glazes were used. Those glazes needed a large amount of frits. According to Sèvres museum 1768 two chemists found a kaolin deposit from Limoges region, and so the clay used in the factory could finally be called porcelain. Also new glazes had to be discovered for higher temperatures. As they found kaolin based clay, as in porcelain, after the year 1804 the manufacture didn’t use pâte tendre anymore, since it wasn’t too plastic. The elephant vase was dated in the era of pâte tendre.

A TEDx Met talk has made the vase famous. In the recording Luke Syson who is specialized in renaissance painting tries to understand the decorative object. "Silly as a level I haven't yet understood silliness to be." 3:04, 7:10

The vase is technically a very skillful example of china painting and gilding. A relatively small quantity was produced in Sèvres around 1760. 19, or after some resources 24, vases are known and in public collections.

Even though objects that are in museums are relatively many, it is still a rare example of craft. The vase/candelabrum is an example of rococo style, made by craftsmen in Sévres manufactory and designed by Duplessis. Still, more meaningful than the outcome of the decorative object, is the story that will take us thorugh the history of both the factory and porcelain in Europe. 

Jean-Claude Duplessis older was a rococo style multitasker but more known for his prototype making. He has given the form for the elephant head vase. I want to compare the elephant vase to Duplessis vase of which the Sèvres factory museum tells us that it needed 10 professionals to make it. I assume that besides the designer and the painter, the vase needed at least a thrower and kiln fire-er.

Louis XV, prince of Condé and Madame de Pompadour were customers for the factory and bought elephant head vases in their own collections. The vases of prince Condé are displayed in New York Metropolitan Museum of Art (6 pieces) and Madame de Pompadour’s are at Baltimore Walters Art Museum. Wallace Collection (of Sèvres porcelain) in London displays a rare individual since it still has candelabrum pieces attached. Other museums (excluding one piece in Met) inform us that the candelabras are misplaced. I assume that the vases Louis XV bought are in Louvre but I can’t find evidence online. One of Louis XV vases is on display at Waddesdon mansion in England and the one is painted by Jean-Louis Morin. Sèvres museum has none, which in my opinion would be an ideal for at least one of the elephant head vases.

The functional decorative object is a curiosity but on the other hand it is a historical object though it’s provenance and with it’s technique (soft paste porcelain). 

The history of Sèvres manufactory starts in Vincennes from where the factory moved to Sèvres in 1756 close to Madame de Pompadour's palace. It seems that after her recommendation Louis XV invested in the factory to become it’s solemn owner in 1759. Earlier it became a royal ceramics factory in 1751. (Nowadays a national ceramics factory.) That has been common among European ceramic factories: for example Koninklijke Delft and Royal Copenhagen.

Sèvres factory has gone through French Revolution and lost important aristocratic customers but during the Napoleon era the factory changed its style towards neoclassicism and has been a successful ceramics factory until these days.

Madame de Pompadour’s decorative elephant head vases describe senses of smell and hearing. The objects are painted by Charles-Nicolas Dodin and are made in the style of chinoiserie, or broadly, orientalism. In the rococo style the chinoiserie was in fashion in 1740-1770 and the ceramics factories started to imitate chinese porcelain. The vases are part of the object family that has been in the production at the same factory at the same time.

In the Wallace collection the vases have metal details that have disappeared from the other individuals. Ormolu, bronze doré or gilt-bronze was made when high carat gold and mercury amalgam was put as a coating on bronze. In a kiln, the mercury vaporizes and leaves a golden layer on top.

The historical significance for the elephant head vases gives the royal court: Louis XV and Madame de Pompadour. They also gave the factory the royal prefix. The objects tell a story of history of both ceramics and porcelain in Europe and orientalism within the Rococo era. The objects describe the highly developed usage of soft paste porcelain. The provenance tells that the objects have been highly valued through out their history. The objects tell a story of the factory, the designer and the painters skills in producing the item. The object is a curiosity and has been so in the very start, although it is a functional item. If one does not understand the history of porcelain, it still remains as a curiosity.

The elephant head vase has copies from the 19th century and are sold in auctions. All the originals are in museums. If you want to see the objects you need to travel, but it’s important that the vases are in the museums. The information you can find online could be next to the objects in the museums. It would be ideal that at least one of these objects would be in Sèvres factory museum, since they tell a story of porcelain and its history in Europe.

Monday, November 23, 2020

Ornamo Christmas Design Market 24.11.2020 - 24.12.2020

I'm part of Ornamo Christmas Market with my porcelain shop Piece of Dab which takes place 24.11.-24.12.2020 online. Follow Finnish Designers or Piece of Dab on instagram. Or head straight to my web shop Piece of Dab

All pieces are unique and made out of porcelain by hand. The mishima decorations draw out of Parisian rain or the feeling of doom/saturnine. Or celebrate Venus by wearing her nipples as jewelry!

Wednesday, November 18, 2020

Pamphlet 2020

Ornamo Design Christmas 2020 starts soon online. My shop has an update: a zine of poems and aphorisms. This zine of 14 pages saves trees! Originally published in my exhibitions "Privé" and "Welcome to the real life according to somebody else" and on twitter. Pamphlet includes a long poem "Ornamental vomit", "Emotional vast scale", "On love as flavours" and Issues I-V.

Sunday, November 8, 2020

American bubblegum/hostel bed 2019

Amarican Bubblegum/Hostel bed 2019 is available here.

Friday, November 6, 2020

Polaroid & porcelain glaze test tiles

Collector's collection

Here is my collection, works by other ceramic artists. Clockwise for bottom left: Kadri Jäätma from Tallinn, Estonia, Grace Eunmi Lee form Toronto, Astier de Villatte from Paris (upside down), rice porcelain by Eeva Jokinen, black delicate plate by Nathalie Lautenbacher, beautiful earrings by Matias Liimatainen and in the center Ruan Hoffman for Anthropologie. 

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)