Simone Krug-Springsguth
Playing with historical relics- Doris Weilandt
New Ceramics Article from March-April 2026 edition - Page 20
April to August Semester Three 2026
Simone’s ceramics contains a varied range of inclusions or additions that sit on the body of the ceramic form. Mostly, they are found objects that have come to a near end of their life span or no longer serve their practical need.
Her work is often placed on iron tall nails, lifting them from the ground and handles could be added on, sometimes bits of wood or leather. The addition of rope is also present, that is often wrapped around the vessel form. The article describes how these inclusions already contains fragments of history, they carry a ‘mysterious aura’.
When creating her forms, it’s almost as if she is reinventing an artefact. - The material combinations she chooses to include create a “poetry” or “harmony” within her work, situating them in the past but also in the present.
“The ceramic form never dominates the found objects”
The clay body is made up from coarsely grogged porcelain. The vessel form is developed in order to contain it’s mystery.
Simone was also at Ceramic Art London 2026- So I got the chance to see her work in person. Each one of her pieces had it’s own persona, or energy. Like the article describes, the found objects creates the aura of the piece.
Her seemingly simple surface treatment, allows the found object to take the reins. The intensely grogged porcelain eludes to historical erosion or wear. The forms can be simple, but it is largely dictated by the found object included in the piece.
Reflection- I love the idea of using a highly grogged porcelain to try and capture a delicate, yet powerful energy within my work. The found objects or inclusions within her work are the forefront to her making, where as I’d use inclusions to amplify my ceramic sculpture oppose to them being the spotlight. The use of inclusions in my work, isn’t related to an historical context, but more so how they create a visual and material dialogue between the clay and the inclusion. Seeing Simone use these inclusions is inspiring, as it demonstrates a more potential material combinations within ceramics.