UNWASTED RESEARCH
Since 2021 , I have been invested in researching in sustainability, testing and trying out materials. With the curiosity and focus on materials at hand, found, wasted or untraditional in craft.
It has resulted in many new fascinating findings, recycling, reusing and consciously trying to find a new sustainable language in glass and ceramics.
The recipes all contain 65-100% waste ressources.
The library of glazes and clay is in constant development and growth. Alongside projects, this research is the foundation of the material investigation - new colors, textures and aesthetics arise.
Date: Sep 2021 - Now
Where: The Royal Danish Academy , Stenbrudsvej 43, 3730 Nexø, DK
Project type: Research
Materials: Waste materials
"With +100 recipes the library continues to grow , along with new colours , textures and ways waste can become ceramic potential. "
CRAFT AS A
POSITIVE IMPACT
As a material researcher, I am passionated about the positive impact that ceramic art can have on the world. I believe that waste materials can be transformed into beautiful and functional art pieces that enhance our lives. Through the years of researching, testing, and refining this craft it has become an interesting material library which I apply in my work.
The research focuses on utilizing sustainable materials and finding ways to reduce waste while producing pieces that are both beautiful and functional.
During the research I found that waste has some unique qualities ans possibilities for ceramics. Both in their chemical behavioral process as well as aesthetics.
THE GLAZE AND CLAY LIBRARY
The glazes and clay types are all consisting of waste materials . around 65-100%.
HAVE A LOOK AT SOME OF THE GLAZES HERE
AND SOME OF THE WASTEBASED CLAY TYPES
THE CHEMISTRY OF CRAFT: Testing, Firing , Transforming
Each discarded material tells a story — and in my practice, understanding that story begins with hands-on analysis. I approach waste not as residue, but as potential. Using methods grounded in ceramic chemistry, I study the physical and chemical behaviors of materials through tests such as sieving, calcining, and firing at controlled temperatures.
This process reveals whether a substance vitrifies like glaze, holds shape like clay, or performs in ways that challenge conventional use. It's a craft-driven investigation — empirical, intuitive, and iterative — combining old ceramic knowledge with new ecological needs. Through this, I uncover how materials like eggshells from Danæg A/S, or crushed ceramic from academic workshops, can replace finite mined resources in beautiful and functional ways.
The results fuel a growing archive of possibilities: a color spectrum made from ash, a silky glaze born of crushed tiles, or a robust clay body with no virgin content. These experiments become part of a circular, evolving system that reflects both craft heritage and the urgent material questions of our time.
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