Gears of clay in motion
- Charlotte creates large sculptural pieces inspired by machine parts
- Her raku fired works have been featured in galleries around the world
- Her practice is inspired by both archaeology and metal craft
The daughter of a blacksmith, Charlotte Nielsen has worked with ceramics since she was 16. As a child, she was inspired by a ceramicist neighbour, and she always knew she would become a craftsperson. Through several residencies at the International Ceramics Research Center in Denmark, she developed a strong interest in wood firing and building kilns. Soon after this period, she began working with raku, which quickly became a key part of her practice. Over the years, she has developed the technique in a modern Nordic style. “I treat the surface with copper and work with clays that contain different metals, which influence the result,” she says. Charlotte’s pieces have been shown around the world, including at the EU Parliament in Brussels and at institutions in Taiwan, the USA, Wales and Canada.
Interview
- Why did you choose to work with ceramics?
- I love to shape clay. I work very slowly, using simple tools and few materials, and I throw the base shape on the wheel. It can be a long process, but it is all about the feelings it evokes in you as you go through it.
- How long does it take to create a piece?
- I work on a series of five to ten pieces at a time. Each piece has to rest and dry in different stages, so patience is key. For sculptural work, the material needs time.
- What role does firing play in the expression of your objects?
- The firing process is essential to the final expression. Fire, smoke and reduction leave strong, unpredictable marks on the surface, and the metals in the clay create tones that recall iron and rust. My main inspiration is the decay of old machine parts, where manmade metal slowly returns to nature.
- Where is the creative tension in your work?
- What makes the process interesting for me is the balance between control and openness. The forms I create are often strict and structured, while the surfaces remain rough, porous and alive.
Charlotte Nielsen is a master artisan: she began her career in 1996 and she started teaching in 1997
Where
Charlotte Nielsen
