A revelation of ancient slips
- Anna shapes soft, flowing porcelian forms with carefully chosen proportions
- She developed her own signature terra sigillata formulas
- Subtle scratches in her works reveal the hidden layers
When Anna Sykora visited the Hedwig Bollhagen ceramic manufacturer at 15 years old, she instantly envisioned the life she wanted. She received extensive training in the field and in a traditional pottery studio, followed by studies in design in Höhr-Grenzhausen, Germany. Anna developed her signature technique in terra sigillata, a slip formula once applied by ancient Greek and Roman potters. “I experimented with pigments and oxides to integrate the technique into my own practice,” she says. Over the years, Anna has been recognised with several state awards. Today, she works solely with porcelain and decorates her pieces with scratched or recessed patterns that show her layered making process.
INTERVIEW
Ancient terra sigillata was known for dark tones and glossy finishes on low fired earthenware. My formulas use lighter, finer clay layers on high fired porcelain, resulting in surfaces that are mostly matte to slightly glossy. The same applies in my work: the darker and coarser the pigments and oxides, the shinier the finish.
During my studies in Höhr-Grenzhausen, I saw that a lot of clients were interested in my classmates' porcelain pieces. So, I decided to adapt my designs to the skill and touch needed to throw porcelain. The response was immediate, and the high demand for these pieces quickly confirmed that my decision was the right one.
The way I make my work has not really changed. What shifted dramatically since the pandemic is how I sell it. Most of my pieces were previously handled by resellers. Today, I focus solely on direct sales, through my store and carefully chosen fairs, such as the celebrated ceramic market in Dissen am Ammersee, Germany
I fully committed to my practice since the beginning. I celebrated small successes and learned to creatively spin failures in my favour. Nurturing relationships with colleagues and peers was vital, alongside attending fairs, keeping in touch with editors and taking every chance I got to promote my work.
