Through sculpture, I examine how natural environments are entangled with human systems of consumption and control. Growing up in a coastal city (The Hague, 2002), the sea has always been central to my practice. It is where I go to clear my mind or to fill it with new ideas, but it is also where I feel a growing concern for the current state of the world.

Since moving to Oslo, I take part in clean-up dives in the fjord, where I collect human-made remnants that become part of my ceramic sculptures. The surface of the clay shows a watery movement, as if formed by the currents. Bone-like shapes are a visual aspect originating from childhood memories of collecting animal bones in the dunes of my hometown. The watery movement of the sea, its sediment and bone-like shapes will be a style that remains embedded as my work shifts from abstract to more figurative.

In my recent project, I combine recycled clay with these found materials, such as rope and unrecognizable objects that are taken over by marine life in the Oslofjord, integrating them into the forms or binding them under tension. For instance, Unconsenting Body, a ceramic whale bound with rope. The binding is inspired by Kinbaku, a Japanese rope practice centered on trust and consent. In Carrier, I explore how external elements enter, remain and become part of a body or ecosystem over time. Reflecting  on how materials, human and non-human bodies are shaped by the systems they exist within.