GREEN TEA ZERO
This year, I had the privilege of presenting a solo exhibition, with the Craft Council offering their support in capturing and showcasing my work. As part of this process, I am in the midst of organizing and defining my collection as a series of distinct, individual works. Each piece has its own story, form, and conceptual foundation.
Size: 18 cm
Material: earthenware
Technique: slipcasted
One of the most significant works from this collection is the Green Tea Set Zero.
The Green Tea Set Zero is a harmonious embodiment of circularity, balance, and precision. Its design stems from a fundamental exploration of the circle, a shape symbolic of wholeness, continuity, and unity. The original form was developed using a lathe-turned plaster mold, which allowed for exacting precision and smooth, flowing lines. This process informed the overall geometry of the set, reinforcing the idea of repetition, symmetry, and natural order.
Composed as a cohesive set for tea, each element — the teapot, cups, pleates, milkjug and sugar bowl— carries a distinct yet interrelated sense of circular motion. This 'circular character' becomes a visual and functional language that ties the pieces together as a family of objects, rather than isolated forms. The tea set isn't just a functional item but a symbolic reflection on gathering, sharing, and ritual.
The story of Green Tea Set Zero extends beyond the creative studio. This work was conceived and brought to life during my master’s studies in Dublin. Its design and craftsmanship were recognized on an international level in 2007, when it won a prestigious design competition in Stoke-on-Trent, England. As a result, the tea set became part of the permanent archive at the National Museum in Stoke-on-Trent — a significant milestone in my artistic journey. This recognition placed my work in dialogue with the rich history of British ceramic production, adding a new layer of meaning and legacy to the piece.
BOWL WILLOW
Size: 18 cm
Material: earthenware
Technique: slipcasted
The Bowl Willow is a testament to my deep engagement with the natural world and my ongoing fascination with organic forms. This work, in particular, captures the spirit of observation and transformation that lies at the heart of my practice. Living and working in a studio surrounded by a garden of trees, I am constantly drawn to the materials and shapes that emerge naturally around me. Bowl Willow is a physical and conceptual reflection of this environment.
The process of creating Bowl Willow was as intricate and layered as the final piece itself. At its heart lies a willow branch, which served as both a conceptual starting point and a literal element within the work. To bring this idea to life, I first cast the branch into plaster, preserving its natural texture, shape, and essence. From there, I integrated this organic form into a custom-designed section that I modeled to form the larger bowl structure. The fusion of these two elements — one natural and one meticulously crafted — creates a sense of dialogue between the wild and the controlled, nature and human touch.
Unlike traditional solid-cast works, Bowl Willow is hollow-cast, which introduces a sense of lightness and airiness while also allowing for the subtle interplay of shadow and depth. One of the most striking details of this work is the application of lustre, a precious metal glaze, to the surface of the branch. The use of lustre elevates the natural form, transforming the familiar textures of bark and wood into something luminous, reflective, and otherworldly. This embellishment evokes ideas of value and preciousness, turning a simple branch into an object of contemplation and reverence.
Bowl Willow also sparked a broader project that explored the integration of natural materials into functional design.
Inspired by the conceptual success of this bowl, I created a series of mugs that continued this line of inquiry. These mugs incorporate cast wood sections as part of their handles, blurring the line between functional utility and sculptural gesture. By embedding this natural, found element into an everyday object, I invite users to engage in a tactile, sensory experience — one where the textures of bark and smooth clay coexist in the palm of the hand. This connection between material, design, and user experience is at the heart of my creative ethos.
RAKU VASE
Size: 60cm
Material: stoneware
Technique: pressmold, raku technique
The Raku Vase holds a uniquely special place in my heart. It is a singular piece in my collection, created using the ancient Japanese raku technique — a process that is as unpredictable as it is captivating. This method, known for its dramatic firing process, requires a combination of patience, intuition, and technical precision. Unlike my other works, which often follow a more controlled approach, this piece reflects the raw energy of fire, air, and earth in a single, striking form.
The creation of the vase begins with firing it in an oxidation atmosphere at low temperatures, reaching its peak at 900 degrees Celsius. At its hottest moment, the piece is carefully removed from the kiln while still glowing red-hot, a moment of intensity and immediacy that demands full presence of mind. The vase is then placed in a container filled with natural, combustible materials such as dried leaves or paper. The sudden exposure to these elements sparks an intense burning process. As the fire rages, oxygen is drawn out of the clay and glazes in a process known as reduction. This immediate shift in chemical composition transforms the surface, creating unique, one-of-a-kind textures, patterns, and color variations that are impossible to predict or replicate.
What I love most about this vase is the surface texture that emerged from this process. It feels alive, as though the fire itself has left its mark on the clay. The tactile quality of the surface invites touch, encouraging a sensory interaction with the piece. The textures evoke the natural world — the rugged bark of a tree, the cracked surface of dried earth, or the patina of weathered metal.
TWISTED BOWLS
Size: 8cm-12cm
Material: porcelain
Technique: slipcasted
The Twisted Bowls project emerged from my time studying in Dublin, where I delved into the intersection of form, color, and material refinement. These pieces occupy a space that resists easy categorization. They are not purely functional, nor are they purely sculptural. Instead, they exist as decorative art objects — thoughtful compositions designed to bring elegance and intrigue to modern living spaces.
The defining characteristic of the Twisted Bowls is their dynamic form. Each piece possesses a subtle, spiraling energy that gives the impression of motion frozen in time. This sense of 'twist' imbues the work with a playful tension, balancing the precision of porcelain casting with the organic fluidity of the design.Color plays a central role in the identity of the Twisted Bowls. Each piece is adorned with striking hues of red, black, blue, and white. These vivid, high-contrast tones were selected to evoke a sense of bold modernity while also drawing attention to the playful form of the bowls. Each color is applied with care, creating visual harmony and an immediate sense of presence, making the bowls a statement piece in any interior space. The vibrancy of the glaze reflects light in distinct ways, further accentuating the twist and curvature of the form.
Adding a final layer of refinement, I apply lustres, a range of precious metal glazes, to specific areas of the surface. Lustres elevate the bowls, transforming them into objects of luxury and desire. The metallic finish captures light in unique ways, creating a sense of movement and elegance as the viewer's perspective shifts. This interplay between matte porcelain, glossy color, and reflective metal surfaces produces a multi-sensory experience for the viewer.
this bowl is called EMANATION and its fully explained in 2005.
BOBA BRTKO CHANDOGOVÁ
