It was an instant love affair and it still is. I wanted to pick up a creative force that engages me during the dark Swedish winter nights. Maybe it was an easy transition; moving my hands out of the late fall gardening grounds into tactile clay!
End of class and some hours later I realized that I had created my first sculpture! That is how my sculptor journey began 10 years ago! On top of all energizing creativity; working in clay empowers me in many aspects. It gives me a tremendous intuitive and meditative sense of power. It is, as well an ongoing continuation of healing power.
My name is Christina “Kicki” Andreasson, I am Swedish, living in Washington D.C., USA.
I am a contemporary figurative sculptor moving between classic sculpting and creative ceramics. All my sculptures are unique and one of a kind. Besides clay I work in a variety of mediums such as stone, wood and plaster.
My approach when sculpting emanates out of an idea or vision of what I want to achieve. It can either be the challenge of capturing the human form through observing a live model or interpreting an architectural object into a human form.
As my work process moves along, my curiosity guides me further into different perspectives and my interpretation often turns into something that I did not perceive initially. I think it shows my way of being pragmatic by all means in life. I always bear in mind that there is always a good solution around the corner.
Early on, I decided to build my sculptor knowledge upon taking independent classes with highly skilled and inspirational teachers. I have been attending workshops and classes in Brussels, Folkuniversitet in Stockholm, Washington Studio School – D.C., Art League School in Alexandria – Virginia and Penland School of Arts -North Carolina.
I hand build each sculpture carefully. Depending of my idea and vision, I choose earthenware, stoneware or porcelain clay to underscore their individual expressions.
My surface palette is a combination of slips, engobes, terra sigillata, mason stains, underglazes, oxides, cold washes (ink, acrylics etc.) and sometimes various commercial glazes. I work in multiple layers and when I reach the point of connection; mostly the eyes, in combination with a distinguished colour palette, I let it go! It has a life by its own. I finally fire her 1-2 times depending on what she tells me to do. Before final take-off I highlight her appearance with different pigmented waxes and oils.