╳ To achieve the fine detailing which makes her work so special, Göransson uses the technique of ‘slipcasting’. For those of us not trained in the art of ceramics, ‘slipcasting’ is a technique for the mass-production of pottery, especially for shapes not easily made on a wheel. A liquid clay body slip is poured into plaster moulds and allowed to form a layer (the cast) on the inside cavity of the mould. In a solid cast mould, ceramic objects such as handles and platters are surrounded by plaster on all sides with a reservoir for slip, and are removed when the solid piece is held within. For a hollow cast mould, once the plaster has absorbed most of the liquid from the outside layer of clay the remaining slip is poured off for later use. The cast piece is removed from the mould, ‘fettled’ (trimmed neatly) and allowed to dry. This produces a ‘greenware’ piece which is then dried before firing, with or without decoration and glaze. The technique is suited to the production of complex shapes, and is commonly used for toilets and basins, and smaller pieces like figurines and teapots. The technique can also be used for small scale production runs, or to produce limited editions of objects.
╳ Ms Göransson’s incredibly delicate work certainly evokes the delicacy and strength that can be found in nature, and in an interview, excerpted from Period Living Magazine, journalist Naomi Jones talks to Mia E Göransson about her love of her craft: ╳ When did your career in crafts get started?
Quite soon after leaving school I got a summer job at a pottery and my main task was to decorate pots for the tourist shop. After the summer, my intention was to study to become a teacher, but because I also learned to throw I ended up staying at the pottery for three years.
╳ Were you creative as a child?
Yes, but I always wanted to create in my own, different way, and I think that made me quite a troublesome child!
╳ Did you ever go on to formally study?
I had become fascinated by clay but I also wanted to learn more about painting and drawing so I went to an art school in Gothenburg for two years. There, I met my husband, got married and had our first child. When our son was three years old we decided to move to Stockholm so that I could begin at the University College of Arts, Crafts and Design; I graduated in 1994, and I’ve worked for myself since then. ╳ What is your studio like? There are about 70 of us working in a converted porcelain factory in Gustavsberg, just outside Stockholm. Many of the other artists have become very good friends of mine and, although we meet every day in the communal kitchen or in the corridor, you can always close your studio door if you don’t want to be disturbed.
╳ How do you encourage your creative moods?
Every morning, I take a long walk with my dog in the woods behind our house, which is opposite the studio and was originally built for the workers of the porcelain factory. That morning stroll is almost as important to me as eating or sleeping: it charges my batteries, clarifies my thoughts and ideas, and helps me work out a real structure for the day.
╳ Where do you find inspiration for your designs?
Predominantly in nature, but I also love visiting antiques shops and markets, and collecting old folk crafts; sometimes the most unexpected things can inspire me: an ugly object can encourage me to think how I could make it attractive. On the other hand, a traditional item can urge me to ask myself, ‘how can I make this feel new and exciting.’
╳ Which pieces are you most proud of? It changes every day, but I’m still fond of my tiles, which I’ve been making for almost 10 years – they’re timeless somehow; I believe I’ll continue making new reliefs as long as I work with clay.
╳ If you didn’t work in ceramics what do you think you’d be doing now?
I could have chosen textiles or graphic design, but I can’t imagine myself in non-creative work; and I never regret that I didn’t become a teacher.
╳ To view more of Mia E Göransson’s work please visit the link below.
www.miaegoransson.com
