The work Liquid Layers emerged from the study of polar expedition reports. For this purpose I developed a collection of card index boxes that form a fictional artistic archive of Fridtjof Nansen's North Pole expedition from 1893-96. In addition to these file boxes from my work "In Night and Ice", the research card box Liquid Layers was created. During an experimental research process, I dealt with the creation of a depth effect of the image on the ceramic image carrier, the porcelain plate. Small pictures that work together as a whole, are brought together in one work by framing through the card index box. When looking at this or when leafing through the file box, it is unclear whether the viewer is looking at a microscopic enlargement of small particles, or at a close-up of an ocean or even the cosmos. This interplay and contrast is deliberate. Everyone can find their own image in and on the plates. It is like its own research process. The aesthetics of the researcher is underlined by the card index box, a device for organizing and sorting archives. This forms the reference to thinking and remembering. Boxes of paper symbolize attempt, success, and perhaps failure — or at least a device for thinking and imagining, a memory space, the tangible unconscious.
The porcelain plates are cast from cast porcelain. Then I work on them step by step and in shifts, intuitively and associatively. Painting with black paint on the white porcelain surface is similar to the process of painting with Indian ink. There are long drying phases between the individual layers. Sometimes I work very atypically with ceramic material by letting it dry out completely and then softening it again. This creates unforeseen but provoked effects that keep the work exciting. When the piece is finished, the electric furnace is set at 1260 degrees Celsius to fix the image on the plate.