My practice centers around the repetitive and meditative process of coiling. Through a process-driven approach, I want to blend functionality and sculpture. While my ceramic candle holders and vases are fully functional, they are designed to stand alone as sculptural objects. The concept of time and the preservation of memory are fundamental to my work and, by leaving visible marks from my fingertips, I want to capture the fleeting moment of its creation. What fascinates me the most about clay is its durability and the ability to bridge the gap between the present and the past. I love how it holds onto history, carrying memories and stories through ancient artifacts.
Being inspired by artists such as Barbara Hepworth or Isamu Noguchi, I am working with the negative space—the hole, a frequently recurring element in my work. The hole is not an absence, but rather a presence and a vital part of the sculpture’s complete form. The ceramic structure frames the world beyond, creating a dynamic element that shifts with the viewer’s movements. Hollow shapes naturally evoke a sense of curiosity, prompting us to interact and peer through them. Adding a reflective surface inside the hole creates yet another element of surprise. Playfulness with an element of surprise has always been a driving force in my work.
Preparation and Slab Creation
To start, roll out a slab of clay, about ⅛–1⁄16 of an inch (3–4 mm) thick. Make sure to have a bigger slab than you intend to use; you will cut off the edges and only use the inner part. Then, compress both sides of the slab with a rubber kidney rib to prevent it from wobbling and cracking (1).
Next, mark out the size of your mirror and draw a sketch of your sculptural form onto the slab. When you are happy with your sketch, cut it out with a needle tool or a knife; make sure to hold it straight (2).
Make one or two holes in the slab so that you can easily mount the form on a wall after it’s fired and fitted with a mirror. Score the outer and inner edges of your shape, then apply slip made from the same clay body (3).
Building the Walls
The coiling technique can be a tedious one, especially when you aim to make the walls pretty and thin. My method is to start with a pretty thick coil. For one of my mirrors, the coils are ¾-inch (2 cm) in diameter. Once rolled, I flatten it with my fingers, creating a sort of ribbon. Here, it is important that you slightly tilt your hand forward so that one side of the ribbon is a bit thinner than the other—⅛ inch (3 mm) versus 1⁄16 inch (4 mm), the thicker part should be roughly the thickness you wish your walls to have (4).
Score the thicker side of the ribbon and press it onto the scored and slipped slab. Attach it so that 1–2 mm of the slab sticks out (5). Then, scrape up the excess clay with a serrated rib onto the wall (6) to join the two parts properly. Pinch the first coil to the slab on the inside. When you’ve gone around the whole form, go over it again with your fingers to smooth out the surface left by the serrated rib (7).
Attach one ribbon at a time, both along the inner and the outer edges of the slab. Build your walls by stacking the ribbons on top of each other, making sure they slightly overlap (8). Using fingers, wooden tools, or serrated ribs, work both the inner and outer surfaces together. This makes them well integrated and keeps the walls an even thickness.
Bridging the Gap
Now it is time to bring the two walls together. Make a new ribbon, fasten one end to a wall, and gently pull it across to the other side like a strap. Repeat the process by placing the ribbons across the outer and inner walls of the form (9). Tip: Putting them in different directions prevents the clay from cracking. Use a wooden tool to reach the inside walls and make sure they are well joined (10).
When you come to a point where you need to close the form, add a flat piece of clay that overlaps the edges of the hole and work it gently, but thoroughly, together with the serrated rib, scratching in different directions (11). Go over the surface with your fingers again to get a consistent look with the rest of the sculpture (12). I like leaving the marks from my fingers as it preserves the process in the finished piece. If you’d rather have it completely smooth, I recommend smoothing it with a damp sponge when the sculpture is completely dry, or add a different pattern of your own choice.
Finishing
Dry the completed form slowly, first under a sheet of plastic, and then uncovered for a bit. Bisque fire it. Now, you can glaze it however you wish or, like I prefer, leave it unglazed. In this particular case, I used terra cotta as I love the color of the fired clay.
Once it’s fired and finished, glue the mirror on the back. I use a strong construction adhesive (PL400 heavy-duty glue) to make sure the shiny mirror surface sticks to the ceramic sculpture. As a last detail, I adhere three felted furniture pads or silicone bumpers to the back to protect the wall in case the ceramic has a rough surface.
Malwina Kleparska holds a bachelor’s degree from HDK-Valand and the Cardiff School of Art and Design. This year marks her tenth anniversary as a professional ceramic artist. Parallel to her studio practice, she has dedicated many years to teaching, and sharing her expertise and passion for clay with others. Her work has been exhibited internationally in Milan, Paris, and Copenhagen. To discover more of her work, visit Instagram @malwinakleparskaor her website malwinakleparska.com.
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My practice centers around the repetitive and meditative process of coiling. Through a process-driven approach, I want to blend functionality and sculpture. While my ceramic candle holders and vases are fully functional, they are designed to stand alone as sculptural objects. The concept of time and the preservation of memory are fundamental to my work and, by leaving visible marks from my fingertips, I want to capture the fleeting moment of its creation. What fascinates me the most about clay is its durability and the ability to bridge the gap between the present and the past. I love how it holds onto history, carrying memories and stories through ancient artifacts.
Being inspired by artists such as Barbara Hepworth or Isamu Noguchi, I am working with the negative space—the hole, a frequently recurring element in my work. The hole is not an absence, but rather a presence and a vital part of the sculpture’s complete form. The ceramic structure frames the world beyond, creating a dynamic element that shifts with the viewer’s movements. Hollow shapes naturally evoke a sense of curiosity, prompting us to interact and peer through them. Adding a reflective surface inside the hole creates yet another element of surprise. Playfulness with an element of surprise has always been a driving force in my work.
Preparation and Slab Creation
To start, roll out a slab of clay, about ⅛–1⁄16 of an inch (3–4 mm) thick. Make sure to have a bigger slab than you intend to use; you will cut off the edges and only use the inner part. Then, compress both sides of the slab with a rubber kidney rib to prevent it from wobbling and cracking (1).
Next, mark out the size of your mirror and draw a sketch of your sculptural form onto the slab. When you are happy with your sketch, cut it out with a needle tool or a knife; make sure to hold it straight (2).
Make one or two holes in the slab so that you can easily mount the form on a wall after it’s fired and fitted with a mirror. Score the outer and inner edges of your shape, then apply slip made from the same clay body (3).
Building the Walls
The coiling technique can be a tedious one, especially when you aim to make the walls pretty and thin. My method is to start with a pretty thick coil. For one of my mirrors, the coils are ¾-inch (2 cm) in diameter. Once rolled, I flatten it with my fingers, creating a sort of ribbon. Here, it is important that you slightly tilt your hand forward so that one side of the ribbon is a bit thinner than the other—⅛ inch (3 mm) versus 1⁄16 inch (4 mm), the thicker part should be roughly the thickness you wish your walls to have (4).
Score the thicker side of the ribbon and press it onto the scored and slipped slab. Attach it so that 1–2 mm of the slab sticks out (5). Then, scrape up the excess clay with a serrated rib onto the wall (6) to join the two parts properly. Pinch the first coil to the slab on the inside. When you’ve gone around the whole form, go over it again with your fingers to smooth out the surface left by the serrated rib (7).
Attach one ribbon at a time, both along the inner and the outer edges of the slab. Build your walls by stacking the ribbons on top of each other, making sure they slightly overlap (8). Using fingers, wooden tools, or serrated ribs, work both the inner and outer surfaces together. This makes them well integrated and keeps the walls an even thickness.
Bridging the Gap
Now it is time to bring the two walls together. Make a new ribbon, fasten one end to a wall, and gently pull it across to the other side like a strap. Repeat the process by placing the ribbons across the outer and inner walls of the form (9). Tip: Putting them in different directions prevents the clay from cracking. Use a wooden tool to reach the inside walls and make sure they are well joined (10).
When you come to a point where you need to close the form, add a flat piece of clay that overlaps the edges of the hole and work it gently, but thoroughly, together with the serrated rib, scratching in different directions (11). Go over the surface with your fingers again to get a consistent look with the rest of the sculpture (12). I like leaving the marks from my fingers as it preserves the process in the finished piece. If you’d rather have it completely smooth, I recommend smoothing it with a damp sponge when the sculpture is completely dry, or add a different pattern of your own choice.
Finishing
Dry the completed form slowly, first under a sheet of plastic, and then uncovered for a bit. Bisque fire it. Now, you can glaze it however you wish or, like I prefer, leave it unglazed. In this particular case, I used terra cotta as I love the color of the fired clay.
Once it’s fired and finished, glue the mirror on the back. I use a strong construction adhesive (PL400 heavy-duty glue) to make sure the shiny mirror surface sticks to the ceramic sculpture. As a last detail, I adhere three felted furniture pads or silicone bumpers to the back to protect the wall in case the ceramic has a rough surface.
Malwina Kleparska holds a bachelor’s degree from HDK-Valand and the Cardiff School of Art and Design. This year marks her tenth anniversary as a professional ceramic artist. Parallel to her studio practice, she has dedicated many years to teaching, and sharing her expertise and passion for clay with others. Her work has been exhibited internationally in Milan, Paris, and Copenhagen. To discover more of her work, visit Instagram @malwinakleparska or her website malwinakleparska.com.
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