Judith Kayser

In a former doctor's practice in the village 'Tuinwijk', in the heart of Amsterdam, you will find my ceramics studio. It is a green space next to the railway where I have the silence and space to create and experiment.

Borderlines

My whole life I have had an ambivalent relationship with freedom and boundaries. I don't like to be told what I should or shouldn't do and can or can't do. As an artist, I use boundaries to look beyond them and experience freedom. This is how I explore the limits of materials and techniques and with that also the 'wearabylity' of my work.

As a ceramicist, I experience working with clay, with great freedom to play with those limits and to experiment. The freedom of direct contact with the material with my hands as my own instrument. But also the freedom to play investigating the limits of materials and techniques.

Door deze manier van werken speelt serendipiteit een grote rol in mijn werk: ook klei en glazuur laten zich slechts tot op zekere hoogte de les lezen. Dit leidt vaak tot onverwachte uitkomsten. Door zo de eigenzinnigheid van het materiaal te omarmen ontstaat werk met een ontregelend effect, werk dat verrast, op het verkeerde been zet, dwingt tot anders kijken. 

 

Surprisingly wearable

My collection of jewelry is therefore on the one hand 'surprisingly wearable' and on the other hand 'limitless', in the sense that it is not just for your neck, wrist, or finger, but equally for walls or trees.

Origins

As a young child, I was already working with clay and my fascination for this intuitive material never went away. I started my studies at the Design Academy and after that, I developed myself as an organizational psychologist. Besides my work as an organizational advisor, ceramics have always been a part of my life and through workshops, courses, and collaboration with ceramicists I further developed myself. Since our move to the doctor's residence in Tuinwijk, I was able to realize the possibility of a studio at home. This created space to further develop my ceramic practice.

1975
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