Gabriele Hain



My first transforms were created in New York in 1987, and I have been exploring this form methodically since 2000. For example, I will apply several layers of stained porcelain to outlined fields (stripes, squares, circles etc.) on a thin cast cylinder. During firing, different surface tensions of thick/thin, glazed/unglazed parts transform the originally round cross-section into a square, an ellipse or triangle etc. and subsequently the whole object.

In recent transforms I have intensified the distortion process by making walls thinner by carving away and perforating, sometimes to the utmost possible layer.




I began cutting forms systematically in 2001. A cube or cylinder is cast and, while it is still wet or when it has dried, I cut along the edges or cut out parts from the sides, thus provoking distortion. The shape will change subtly or dramatically during firing, depending on the thickness and dimensions of the form and the cut-outs, revealing material-determined qualities and characteristics.




Partialforms emerged during 2004 as a next step in exploring the possibilities of cutforms. I wanted to see what happens during firing when 1/5, 1/4, 1/3 or half of a form has been cut away. Again, the shaping properties and forces of sintering and glaze are at the centre of my research, with the texture and colours added by applying stained porcelain and glaze with sponge or brush contributing to the transforming process.




During my six weeks as artist-in-residence in Seto, Japan, I created a conical cup for drinking tea, which is now being manufactured in three sizes and used for all kinds of drinks. 

I create a variety of cups for different occasions and requirements:

- thick cups - in white or with coloured patterns or rims, glazed and unglazed on the outside - for a    special, smooth feeling in the hand,

- very thin cups - carved and pierced, delicate and individual - for celebrations and contemplation,

- transforms, cutforms and partialforms.



Limoges porcelain, Seto porcelain, cast, processed and fired to 1230°C in an electric kiln. 

Transparent glaze, stains and onglaze colours.