Kim Simonsson – Beyond the Vessel – Q&A

What does a day in the studio look like?

Days are very different. I usually work with a few sculptures at the same time. I like to listen to podcasts or music when I sculpt.

What was your first use of clay?

I started to work with clay seriously when I was accepted to Aalto University to study ceramics. I applied as a joke. I wanted to be a painter but didn’t get into the Art Academy. At the Aalto University I realised that sculpting is natural for me so I stopped making any kind of functional ware.

What is the most challenging element to your practice?

Everything outside of the studio work that is demanded of the artist nowadays. In studio I guess it’s the first 50 cm of the sculpture.

What is your favourite fable?

I think that all of the fairy tales that we are grown up with in Scandinavia from Hans- Christian Andersen to Astrid Lindgren can be seen in my work. Maybe Moomin is my favourite fable, if you can call Moomins animals.

What thing or person is your greatest influence?

I use as an inspiration for the faces of my characters a bust made by Camille Claudel that is displayed in The National Museum of Norway in Oslo. I live in the countryside surrounded by big forests. They are also my sources of inspiration. On the other hand, popular culture, contemporary art world and video games influence my works. I have always been interested in history, art history and mythology in particular. They play an important role in my works. I was raised in a home that belonged to the Seventh- day Adventist Church. The trauma from secession of the religion in my teenage years is part of my works.

What is the relevance of myth today?

As the western world is getting more secular, we want stories that don’t have a moral element to them. We want to believe in something more than the everyday life, that gives as reason to wait for something exciting that will come or happen.

Are you an artist or a ceramicist?

When I was studying I always wanted to make sure to everybody that I was a sculptor and not a ceramicist. Later on, when I have gained better self-esteem, I didn’t really care how people would characterise me. I do all the ceramic work myself with a skill that I have achieved by working a lot, so I have a skill and I am a craftsman.

What is the relevance of ceramics today?

Ceramics is indeed very popular at the moment in contemporary art. It is affordable for young artists who want to do sculptures, since for example casting bronze requires large infrastructure around you. With ceramics you can do pretty much anything you want; express yourself in any kind of shape or though from modernist to figurative and narrative.

What is the argument for learning / honing technical skills in today’s world?

For me it was necessary to learn the skill to make my sculptures because I couldn’t afford somebody else to do them.

Have we moved beyond the need to make with our hands?

It’s not all about making something concrete to this world but also about the therapeutic part of working with our hands. The human hand is so amazing and we have trained it over tens of thousands of years – that it is something humans have to use.

Why do you think ceramics is becoming popular amongst today’s youth?

It is an affordable material and you can sculpt or do anything from clay. It also has a lot of reference points in our culture from utility ware to sculpture.

Why do you think there is such an international vogue for ceramics today?

Ceramics has been for so long in the fringes so there is the excitement of something new.

Who is your hero or heroine?

A Canadian friend always joking told me “Don’t be a hero”. Maybe we would need less heroes in the world.

Name a book that everyone should read and why?

The Bible to understand what the fuss is about and understand that it’s written by mortal human beings and not God. I suppose most Christians haven’t read the Bible.

Why is your studio where it is and what does it mean to you?

I work and live in Fiskars Village, Finland. It used to have manufacturing of the famous orange scissors. Nowadays the factory is situated ten km away and the village is known for its artists, designers and craftsmen. One third of the population is in a creative field. It is very inspiring to work there and it enables many kinds of cooperation. I also have a studio at the Arabia Art Department in Helsinki, part of Iittala & Arabia Design Centre. The Art Department was established in the 1930s along with the ceramic factory and the main focus has always been unique ceramic art. Nowadays the factory no longer exists but the Arabia Art Department Society carries on and develops the Finnish ceramics art heritage in the same space it was established decades ago.


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