Handbuilding, slip casting, dipping and paper molds

Patricia Neysens is a potter and bio-engineer from Belgium who completed the colored clay e-course with Curtis Benzle at TeachinArt.​ Here is she in her own words.
I was born in Watermaal-Bosvoorde (Brussels, Belgium) and spent my entire childhood in the pictoresque municipality of Beersel. We lived close to the famous medieval castle of Beersel and were surrounded by a beautifull nature and numerous local geuze breweries.
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Patricia Neysens from Belgium in the Genk Academy

My educational background lies in engineering, science and research. At the free university of Brussels, I first obtained the degree of Bio-engineer in cell and gene biotechnology. That was followed by a PhD in applied biological sciences during which I focused on sourdough fermentation. Thereafter, I started a career in the pharmaceutical industry, mainly as project manager. During that time, I continued taking several classes that brought me closer to my inner selve and passions.
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It is no more than 10 years ago that I first experienced working with clay. The joy of creating, the feeling of clay on my hands and the peace of mind all this brought were truly overwhelming. About 5 years ago I decided to enroll in the ceramics program at the Genk academy of visual arts and media. Till today, the ceramics classes have continued to equipped me with skills and knowledge relating to the materials and processes of the discipline. Very soon it became clear that porcelain would become the ideal medium for my work.

L’impermanence – Dahlia (front), Porcelain, cone6 (1245°C), oxidation

L’impermanence – Dahlia (back), Porcelain, cone6 (1245°C), oxidation

​Once a researcher, always a researcher, so I dedicate a lot of time to sample making and the testing of new techniques. For the making of my works, I rely on a mix of techniques: handbuilding, slip casting, dipping and the use of paper molds or other “carriers” to make individual elements which then are assembled into a – partly- intuitive final pattern. ​

Samples, Porcelain, water-soluble metal salts, cone6 (1245°C), oxidation

Samples, Porcelain, water-soluble metal salts, cone6 (1245°C), oxidation

​My finished forms are mostly defined and inspired by the beauty, fragility and strenght of nature. I aim my sculptures to look elegant, refined and vulnerable and hope them to engage the viewers in their tale. To me my works are an instrument to express my own emotions and feelings.

​I rarely add color or glazes to my work because I love the whiteness, pureness and translucency of porcelain. I believe that in some cases the combination of shape and a delicate play of texture, results in enough complexity.
In case I do decide to add color, I always keep a certain degree of sobriety in mind not mixing too many color palettes or by using coloring agents that enable me to obtain a subtle natural look and feel. Mostly I rely on the use of either pigments or oxides for the coloring of porcelain clay bodies. When I want to add subtle color to bisque-fired pieces (or even green ware), I prefer the use of water-soluble metal salts. All works are fired at cone 6 under oxidizing conditions.

Square bowl, Porcelain, cone6 (1245°C), oxidation

​As a newcomer in the arena of ceramic artists, I want to thank Antoinette and Koos Badenhorst for providing me this platform and for sharing so much valuable information through their e-courses and TeachinArt portal.

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Links:
E-courses (online courses) at TeachinArt
Preview e-courses
Demonstrations, tips and techniques
Our art instructors
Colored clay e-course with Curt Benzle