Arild Berg

Ceramic surfaces inspire me: I work with collaborative projects and interdisciplinary explorations with methods in art. Through academic practice and workshop practice I do this as professor in artistic research at OsloMet - Oslo Metropolitan University.

Q&A

Artist Statement

My artistic research work in product design and the aesthetics of materials has a framework in real life and in the poetic potential of everyday situations. Projects often start with a need in a context where people, environment, design and artworks melt together. The context becomes part of a poetic frame, which is played on, such as the time dimension of people in different stages of life. This is the starting point for making an interaction of elements where the dividing lines between art, design, research, and everyday life are pushed into each other in new ways.

What craft do you work with?

I work with concepts related to ceramic surfaces and colours. I scratch drawings into layer upon layer of coloured porcelain. Burned to 1220 degrees, the layers become transparent and with metallic colours such as cobalt, copper and iron, a unique expression arises. Through architectural ceramics and art projects, I investigate different ways of involving participants. I have developed and participated in several individual projects and group projects since starting in 1997.

What inspires you to work with this craft?

I am passionate about co-creation and interdisciplinary collaboration. I teach philosophy of science and ‘thinking through making’ at OsloMet; methods for participation using material aesthetics and interdisciplinary co-creation for a sustainable society.

How do you start your creative process?

My artistic research work in product design and the aesthetics of materials has a framework in real life and in the poetic potential of everyday situations. Projects often start with a need in a context where people, environment, design and artworks melt together. The context becomes part of a poetic frame, which is played on, such as the time dimension of people in different stages of life. This is the starting point for making an interaction of elements where the dividing lines between art, design, research, and everyday life are pushed into each other in new ways.

How would you best describe your workspace and what tools could you not do without?

I work at a shared studio space with other artists. I need special tools, fluid porcelain, plaster moulds, brushes, scratching utensils and a ceramic kiln.

Are there new techniques you would like to try?

I am interested in connecting my artwork to other materials, for example fibers, and also to music, in collaboration with composers in music.

What have you learnt or the best advice you have received that you would like to share with fellow crafters?

I would like to share and develop different perspectives on forms of participation in public art, including participatory art works and publications based on these. The contribution to artistic research will be to deepen the understanding of how participatory methods in public art can enhance involvement and implementation of new practices.

What other types of craft do you dream of collaborating with?

I would further like working systematically with communication through aesthetics of materiality. A contribution can be to explore and document experimental ways of using materials and techniques, exploring aesthetic ways of visual media such as collaborative artistic practices.

What professional dream do you have?

Finally, I would like to use my competence in a wider interdisciplinary collaboration perspective, putting the art and design theory and practice into matters of health, education and technology, all directed towards sustainability.