Markus Freidl

Ceramicist

In search of perfect proportions

Markus numbers all the objects he makes according to his sketches
He taught himself to work with clay
His works often contain inner worlds due to their construction

In Nuremberg, Markus Freidl studied free painting with Prof. Johannes Grützke and later free graphics and object art with Prof. Rolf-Gunter Dienst. It was after moving to Berlin that he discovered his current material, clay, while searching for a pot for a houseplant. He decided to simply make it himself. A great deal of his knowledge of clay processing came from self-teaching. "Clay allows me to create almost any shape I want.” Through the way he constructs his pieces, Markus creates interesting, architectural spaces within his vessels. Traces left in the clay by his tools are used as stylistic devices. Markus often only uses oil as a finish after firing to keep surfaces rough and textured. In contrast to this, he glazes the insides in light colours so as to enhance the dimensions and clarity of the world created within.

Interview

How did you come up with the numbering system for your works?: Every object is first drawn with a pen on paper. In creating my objects, I value working with my hands and that starts with drawing them by hand. My collection currently consists of 4365 sketches. Due to the fact that I number them, I know that with certainty!
What does well made mean to you?: My work is always focused on finding the perfect shape. In addition to each object's proportions, I also consider how they relate to other pieces. My work always strives to have an intrinsically sculptural value. In my opinion, 1136 and 1139 are particularly successful shapes.
How do you notice that the making of a piece is going well?: My work requires a lot of patience. I let my work dry for 1 to 2 months before firing because of the nature of my constructions. A moment of deep immersion comes sooner or later with every object. If that happens, I am confident that the piece will be well made.
What was a particularly special experience in your work life?: Professor Eugen Gomringer, regarded as the father of Concrete poetry, invited me to exhibit at the Kunsthaus Rehau, where his own work is also archived. He understands how objects affect each other differently when they are positioned in relation to each other. Playing around with the objects and setting up the exhibition was a lot of fun for both of us. Mr. Gomringer must have been in his early 90s at the time.

Markus Freidl is an expert artisan: he began his career in 2006