interview :: ann kristin einarsen

Norwegian artist and designer Ann Kristin Einarsen launched Stilleben (above) as part of Structure, an exhibition of contemporary Norwegian craft and design in Milan’s Ventura Lambrate last month. confessions of a design geek caught up with her to find out more about her practice…

What’s the most important thing to know about you?

I’m a ceramic artist, just venturing into the world of design. I’m from the north of Norway, but live and work in Oslo.

Where do ideas come from?

From life. From living, learning, seeing, experiencing, touching, making, dreaming and failing. And they develop and change through testing, problem-solving, discussion, experimenting, experience and failing, again.

What was the inspiration behind Stilleben?

I love mixing and matching. And I love ceramics. I wanted to make something in different ceramic materials, that would go well together in both shape and colour/materiality, and be flexible in its applications. I wanted the user to be able to pick their favourite colours and put the different shapes together in their own way. And when they are not in use, you can stack them together and they form a nice-looking still-life.

How are the pieces made?

They are slipcast in a plaster mould, using different low-fired clays, including terracotta. I mix different clays when they are liquid, to make different colours, and trying to find the perfect earth-tone palette.

What is your favourite tool?

Well, that depends on the task. But the tool I use the most is a little red plastic thingy. It came in a set of play-dough I won in a raffle when I was about 6. I have a lot of more expensive and professional-looking plastic thingies, but they don’t quite compare.

Tell me about a good day in the life of Ann Kristin Einarsen and a bad day.

Good day: Everything on my to-do list gets done! I open a kiln and things looks better than expected. Someone gives me positive feedback. Something takes less time than expected (this one hasn’t happened yet!). And at the end of the working day there is still time for a beer with my husband and friends.

Bad day: I can’t even get around to making a to-do list. Everything in the kiln is broken, bad or boring-looking. Nobody gives a damn about what I do. Something takes ten times longer than anticipated, and then it turns out I can’t use any of it. And at the end of the day there is just night.

What defines good design or craft?

Something that makes you feel something.

What are you most proud of?

I was really proud to be a part of the Structure exhibition in Milan. Everyone involved was super-professional and it made me feel like I can’t be half bad myself. Out of the things I’ve made, I’m most proud of the wooden canoe I built when I was nineteen.

What advice would you give to an aspiring craftsperson?
Just DO it! This happens to be the advice Sol Lewitt gives in his letter to Eva Hesse. I read it from time to time and my favorite part is: “…but mainly relax and let everything go to hell – you are not responsible for the world – you are only responsible for your work – so DO IT.”

And finally, what’s your favourite colour?!

At the moment I have a thing for pink, but in general I prefer materiality over colour.

Further reading for the especially geeky:

• interview :: made by michael
• interview :: nordvink
• interview :: james molkenthin
• interview :: juliette bigley