The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What role does research play in your practice?
Eveline Kieskamp: Research plays an essential role in my process, particularly in the initial stages of my work. Both the design and conceptual meaning are shaped by an in-depth study of women depicted in 17th-century historical paintings.
Through sketches, I give these figures a new, contemporary meaning and place them in a modern context. My fascination with the role of women in history closely connects to my own experiences and background. Additionally, I integrate traditional techniques
such as terra sigillata into my work. Through courses and extensive research, I have deepened my understanding of this ancient method of clay sealing, which I carefully apply within a contemporary visual language. The result is a layered body of work
in which past and present are seamlessly intertwined.
1 Eveline Kieskamp's Lost childhood II, 12½ in. (32 cm) in width, stoneware, terra sigillata, 2024.
CM: What role do you think makers play within today’s culture? How do you think you contribute?
EK: I believe it is important for an artist to play a role in raising awareness of certain societal issues. In the world of ceramics, the focus is often on technical aspects—beautiful glazes and ingenious forms—but I find
it essential that my work tells a story beyond the technical execution. My art is not only about craftsmanship, but also about conveying meaning and engaging the viewer in a broader conversation.
What defines my art is the way I transcend time and material to create a dialog between the past and the present. My sculptures demonstrate that ceramics, often regarded as a traditional craft, is in fact a powerful medium for storytelling and evoking
deep emotions. By intertwining history and my own life story with universal themes, I invite the viewer to look beyond the form itself and discover its layered meaning. In my work, I seek a balance between resilience, beauty, and vulnerability—contrasts
that define our humanity. At the same time, I question femininity, and the societal boundaries imposed upon it, making my art not only a visual experience but also an invitation to reflection.
2 Eveline Kieskamp's Frozen queen II, 37Âľ in. (96 cm) in height, stoneware, terra sigillata, 2021.
CM: What is the most challenging aspect of working in clay (either technically or in terms of building a career)?
EK: The most challenging aspect of my work remains the constructive process. Since my sculptures are often large in scale, building them at the right pace is a demanding task. Moreover, detailing requires a high level of precision during
the different drying phases of the clay. Because both the rough construction and the refinement must go hand in hand, it is crucial for me to develop my designs thoroughly in sketches beforehand. This minimizes unexpected complications, especially
when facing the greatest challenge: the kiln. While I have a clear understanding of its limitations, unforeseen issues during firing often require a piece to be remade.
Beyond the technical challenges, establishing a career in the arts is also a complex process. As I am not exclusively represented by a single gallery, gaining visibility for my work demands significant time and effort. Fortunately, I have noticed a shift
in recent times, with my work receiving increasing recognition in the ceramics world—not only for its technical execution but also for its conceptual depth.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: What role does research play in your practice?
Eveline Kieskamp: Research plays an essential role in my process, particularly in the initial stages of my work. Both the design and conceptual meaning are shaped by an in-depth study of women depicted in 17th-century historical paintings. Through sketches, I give these figures a new, contemporary meaning and place them in a modern context. My fascination with the role of women in history closely connects to my own experiences and background. Additionally, I integrate traditional techniques such as terra sigillata into my work. Through courses and extensive research, I have deepened my understanding of this ancient method of clay sealing, which I carefully apply within a contemporary visual language. The result is a layered body of work in which past and present are seamlessly intertwined.
CM: What role do you think makers play within today’s culture? How do you think you contribute?
EK: I believe it is important for an artist to play a role in raising awareness of certain societal issues. In the world of ceramics, the focus is often on technical aspects—beautiful glazes and ingenious forms—but I find it essential that my work tells a story beyond the technical execution. My art is not only about craftsmanship, but also about conveying meaning and engaging the viewer in a broader conversation.
What defines my art is the way I transcend time and material to create a dialog between the past and the present. My sculptures demonstrate that ceramics, often regarded as a traditional craft, is in fact a powerful medium for storytelling and evoking deep emotions. By intertwining history and my own life story with universal themes, I invite the viewer to look beyond the form itself and discover its layered meaning. In my work, I seek a balance between resilience, beauty, and vulnerability—contrasts that define our humanity. At the same time, I question femininity, and the societal boundaries imposed upon it, making my art not only a visual experience but also an invitation to reflection.
CM: What is the most challenging aspect of working in clay (either technically or in terms of building a career)?
EK: The most challenging aspect of my work remains the constructive process. Since my sculptures are often large in scale, building them at the right pace is a demanding task. Moreover, detailing requires a high level of precision during the different drying phases of the clay. Because both the rough construction and the refinement must go hand in hand, it is crucial for me to develop my designs thoroughly in sketches beforehand. This minimizes unexpected complications, especially when facing the greatest challenge: the kiln. While I have a clear understanding of its limitations, unforeseen issues during firing often require a piece to be remade.
Beyond the technical challenges, establishing a career in the arts is also a complex process. As I am not exclusively represented by a single gallery, gaining visibility for my work demands significant time and effort. Fortunately, I have noticed a shift in recent times, with my work receiving increasing recognition in the ceramics world—not only for its technical execution but also for its conceptual depth.
Learn more at evelinekieskamp.nl.
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