A Nerikoni Maker | Celina Frisson | Episode 1035

Celina Frisson | Episode 1035

Celina Frisson lives and plays in the canadian rockies with roots on the west coast. Celina is a multidisciplinary artist with expertise in ceramics & design. Celina’s studio is located in Jasper National Park and she believes it is in her greater purpose to create art that connects people to their natural environments. Celina is here to create work that reflects fluctuating landscapes, activism with functionality to impact generations beyond my existence.

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Are there types of nerikomi?

Technically, yes, because you can have different variations of throwing it or hand building it. I believe the term for throwing nerikomi is called Agate and if you are hand building it is nerikomi.

How difficult is it to transition from marbling to actually creating a repeatable scene?

I think it takes a fair bit of planning if you want to do something like a repeating pattern. You have to almost think backwards because you are working at the cross section with nerikomi. You are never really ever working with a flat design. You’re always working with 3D blocks and working in their cross sections, so it’s very hard to actually manipulate a scene out of that.

Is it important to start with a white clay body?

That’s a good question. I think it’s totally users choice. I personally use a white stoneware but you can use porcelain or earthenware if that’s even available.

Are you also able to create nerikomi by layering clay bodies?

I think it is always worth trying before I go and tell you, Yeah, you should go and do that! Because honestly if the shrinkage rates aren’t the same that’s when you start to get the cracking. One of the biggest issues with nerikomi is where the seams join and if the shrinkage rates are different you might get some of the clay shrinking faster than the other clay. I like to stick with one clay body because it is the most predictable and your margin for error is so much smaller.