Introduction

My name is Franziska M. Köllner, and I am a designer of ceramic objects. My residence in Leipzig, a major city in Eastern Germany, is my living space, workspace, and studio in both capacities. I am outgoing and optimistic. My love of justice, critical thinking, curiosity, and kindness are traits that my friends would undoubtedly describe. I am conscious of my impatience and restlessness, though. While I frequently devote myself entirely to my art and craft, I am resilient and a good networker. Critics compliment my cheekiness, which is finally inevitable.

Half a life spent as a self-employed ceramist – and when you consider that I already had the desire to work with clay at the age of 10, you can say 4/5 of my life I shape and mold this material with which I work extensively; even blindfolded, evidenced by a video which I uploaded to YouTube titled „Blind date with Clay.“ I recently calculated that until now, I have processed almost seventy tons of clay by hand.

I am very grateful to my many valued customers for their loyalty. Some genuinely inspiring personal feedback confirms my path. In addition, you can eat from “Köllner-Ceramics” in Asian-oriented restaurants such as “Shiki” and “Zchâcá” in Leipzig, just as you can drink from my tea bowls in Berlin tea shops.

Later, I would successfully convey my skills in workshops and courses for teachers, occupational therapists, and advanced hobbyists. Additionally, I taught classes at the „Bildungsakademie Dresden“. The „Lindenau Museum Altenburg“ engaged me as a ceramics lecturer for a sculpture course until 2024. I co-founded the “Terra Rossa” Art Association and the “Schwarz-Weiss-Werkstatt-Galerie.” I have also been organizing the ceramics market at the “Grassi Museum of Applied Arts” in Leipzig for several years. But, of course, things didn’t happen overnight.

Training

My education was founded by early pottery classes and many enjoyable summer vacations at the artist college „Künstlerkollegium Schaddelmühle“ with Horst Skorupa and Astrid Dannegger.

I had begun practicing on the potter’s wheel and starting from scratch to learn the technique. Then, I earned a master craftsman certificate for ceramics after training with Ulli Wittich-Großkurth, one of the most well-known modern German ceramicists, in Jena, East Germany, from 1984 to 1992.

Here, the art fundamentals were taught, and how to be patient and persistent when performing repetitive work processes. The emphasis in this class was definitely on productivity, even though there were multiple aesthetic impulses and curiosity.

My continued artistic development through several seminars, both domestically and abroad, was crucial to me. I took a class at the Royal Art Academy in Stockholm before traveling to Mali, India, Vietnam, and Thailand. Here, I learned the primitive conditions and working methods without technical aids.

In February 2024, I realized a great dream. A study trip took me to Japan. I visited famous ceramists and their workshops in the Kansai region. Inspired and full of vivid impressions, I am reminded of what an amazing craft I feel deeply connected to.

Inspiration

I was fascinated by the serial production of everyday ceramics, the constantly repetitive work processes, and the modeling of large numbers of uniform plates and cups by „assembly line work,“ so to speak, which, in a way, I find „meditative“ and „calming.“

Finally, I arrived at an individual form and color scheme for my everyday ceramics.

Japanese tea traditions and Asian cuisine have always inspired me. With the opening of my studio in Leipzig in 1993 and the collaboration with various artists, my motivation to create sculptural work gained momentum.

My desire to work with figures grew more vital during a study trip to West African Mali to study clay architecture and witness the beauty and pride of African women. I find inspiration in nature, in flower and plant forms, and I allow Asian influences, such as Ikebana and Japanese floral patterns, to lead me. I want to create ceramics in which vessels and content form a unit.

Another aspect of my creativity is free work, which is not immediately helpful but is functional. Vessels whose shape and surface are so distinct and one-of-a-kind that they don’t require any content to work their magic. For me, transitioning from naturalistic allusions to abstraction is an essential field of tension.

It is very inspiring to let other arts influence my perception of reality. Photography and watercolor painting are fantastic ways to stage my ceramics‘ shapes, structures, and designs.

Technique

Clay containing iron pyrites is the raw ingredient. All pots are handcrafted on a potter’s wheel developed by Walter Gebauer at the company „August Schnelle, Meissen, Germany.“ It has been in operation for almost sixty years now. At my company anniversary this year, it has been with me for thirty years. Tableware and vases are burned in an electric kiln at temperatures up to 1,250°C.

For my sculptures, I use fireclay clay. All pieces are fired in the Raku technique, which was first practiced in Korea, China, and Japan and developed to the highest level of mastery and is directed by fire, smoke, and reduction. So it is entirely up to chance what individual character each piece experiences—different temperatures up to approximately 1,000°C are achieved in further work steps in the gas fire. Not a single piece is „repeatable“. 

There are only one-of-a-kind objects.

Products

„Vessels and objects“ – that’s how I characterize my work. Vessels have a practical value that can be used, derived from the Old High German „givāʒi,“ „hold“ something, such as a cup, a mug, a bowl, or a vase. Objects live for themselves; purpose might be given to them in any way. 

I aim to create a contemporary, functional, and straightforward design when developing my tableware series. This creates new collections for private use, as well as for restaurants and hotels. I set unique accents with my dark and mint green glaze. Both complement each other and thus create a dynamic interaction whereby each glaze stands on its own and appears individual.

When working on the vases, I give my full attention to one of my most cherished interests. It’s fun to experiment with different forms and see what comes out. I’d want to take inspiration from the style of the 1950s and 1970s, but feel free to make any adjustments that suit my personal preferences.

I use the Raku technique for my sculptures. „Raku“ means serenity, contentment, well-being, joy and happiness. It became known as a burning technique in Japan in the 16th century. Much later, American and European ceramists were fascinated by the appeal of this type of firing, giving chance a chance. I’m very passionate about this, and it always sparks new ideas for how to give my objects their unique expression.

Traditional ceramic workmanship meets modern, practical design in the „Ed & Emilia“ series of children’s tableware. This collection has entirely handcrafted products. Triple-fired and glazed in natural white, they include mocha-colored designs. All handmade items are subject to minor variations in color, size, and weight, both expected and desired.

Characteristics

Structures, unique surfaces, impressive glazes, and Craquelée– cracks are just as important to me as resistance, durability, and good usability. My ceramics are dishwasher and microwave-safe.

I only use approved and tested glazes that I experiment with and modify. For me, the beauty of simple things is always the measure. Every figure and every object is given a distinctive „garment.“ This „web structure“ is fascinating if you follow the cracks that run like lifelines with their interruptions, overlaps, and condensations with your eyes or fingers.

My claim is to develop a contemporary design language combining tradition and modernity. That’s why I pay attention to simple and clear shapes. I like the playful shifts of nuances more than a standstill. Softer shapes correspond to an almost metallic shimmering dark and mint green glaze. Occasionally, lively interrupted by small rendezvous with black, pink, or yellow glaze. It is important to me to consider the strict structures of Bauhaus art and Asian ceramic traditions.

The thematic preference in my sculptures is primarily focused on the human figure. Mostly female bodies, sitting, kneeling, or standing, testify to beauty and elegance, looking inward or into the distance and entirely at peace with themselves. I can’t wait to create my interpretation of torsos or heads.