The residency of ... Sander Plug (NL)
Sander Plug’s work is intriguingly suggestive. He developed a vase, for instance, with the standard diameter of tape roles, so you can slide various roles over a vertical tube. The piece marries DIY and customisation with a sensitivity for the colour and texture of humble materials. It’s also quite phallic. Another work is based on honeycomb garlands that, you know, expand and contract. Made from different types of clay to form a colour gradient, the garland might celebrate progression, but the transformation from paper to ceramics complicates matters. Although any double entendres were unintended, Plug’s original proposal to create casts from glory holes did point in a certain direction. The casts themselves are dark, impenetrable objects that seem to embody the inescapable gravity of desire — as well as its design and commodification. All works share this capacity to generate myriad meanings well beyond easy libidinous associations — without ever disowning them either.
Plug’s glory holes series started with casting the negative space of in situ glory holes in silicon rubber. These then became the positives from which he made three-part plaster moulds, into which he slip-cast and press-moulded. The final pieces were press-moulded with Terra Niga (black) clay and finished with a black terra sigillata. His tape vase series employed 3D-printed porcelain in combination with small batches of hand-wedged colour clay that were high-fired for watertightness. Plug’s garlands were slab built from various clay mixtures arranged in gradients. With his Lidl receipts he tried many processes on top of slip-cast porcelain, including 3D printed stamps in combination with pigment washes and decal (transfers). Beyond all this, he built upon his practice of wheelthrowing and made further experiments with slip-casting and press-moulding sculptural/design objects.
Website:
@studiosanderplug 
