Addicted to porcelain

Marik creates sculptures out of pure white porcelain
She is constantly researching new ways to work with it
She exhibited at the Révélations 2015 exhibition in Paris

Marik Korus (real name Marie Claude Korus) takes inspiration from nature, the sea, architecture and aspects of her environment that spark her imagination. She is constantly inspired by the nature in Charente-Maritime, France, where she has lived for more than 15 years. She trained as a teacher of artisanal crafts and it was during this training that she discovered ceramics. At first, she simply found clay an attractive medium, however she then realised that the material threw up constant questions, right up until the final firing. After investigating the raw qualities of clay, she now researches ways to increase the transparency and lightness of porcelain. She compares her love for porcelain to eating chocolate: “You can’t stop, as long as it’s still there!”

Marik Korus is an expert artisan: she began her career in 1994

Discover her work

Discover her work

Acrospora

Boule Fleurs

Frou Frou

Futustypa

Stlophora Noir

INTERVIEW

I was tempted by many techniques at first. I did a lot of work with cardboard, leather and bookbinding, and then it was quite by chance that I was given the opportunity to take advantage of a pottery workshop during my pedagogical studies.

I was asked to be guest of honour at an exhibition named black and white. I wanted to create black using oxide enamels, while, for me, the white could only be porcelain. I had never dared touch porcelain because fellow potters had all said that it's horrible. But now I only work with porcelain.

I exhibited an installation of jellyfish at the Révélations exhibition in Paris. One woman stood alone looking at the piece for a long time and her words have always stayed with me. When she left the stand she said: "Thank you for the emotional moment you have given me."

The constant creative research, since there are so many different ways to use ceramics. And it’s a real challenge. The firing stage is a big test. The piece might be perfect, but then it has to be entrusted to the kiln. When it emerges, it can be good or not, it can be whole… or not!