Steen Ipsen

As his earliest form, organic could be seen as a precursor to later forms such as Tied-Up. Contrary to that later form, Organic form also uses repetition of shapes and lines painted on its surface to give a visual map of its form, line and curve. Much like topography gives depth and a greater understanding of a map, these lines and shapes highlight the convexes and concaves of the work. This form displays a monochromatic glaze colour scheme which could be used as to further aid in viewing the movement of the pieces as well as making sure there is nothing (such as colour) to distract from the overall work.[9] The lines present on these works are important as they are not featured in his later works. They provide a visual emphasis on the shape of the stoneware base. The glazes of this form can be described as “decorative ceramic expression involving both form and decoration. Decoration is integrated into the form and the form itself is spatially decorative.”[10]

Unlike most of his works, Geometric is a rigid form that doesn't appear as fluid or moveable. This form follows a path of geometric abstraction, developing further the typical geometric lines and shapes. They follow a basic rule of rectangular or line repetition. In a monochrome black glaze, the simplicity of the line as singular versus the complexity of the repetition creating the whole form is clear. Sometimes accompanied by a connected red circular form, the straight black lines of the rectangular abstraction are highlighted and contrasted.[11] Placing the ‘free form’ circular shape next to the quadrilateral line as well as the red glaze next to the black glaze really highlight the differences in the forms. Here in this work Steen is expanding the geometric universe mimicking the repetitions in nature but with an industrialist twist.

The Bubble series is possibly a more naturalistic take on the spherical form that Ipsen is so accustomed to. Much like the result of blowing through a straw into a milkshake, the free form variety has bubbles that are arranged in clumps and ranging in sizes from small to large. Whilst more naturalistic than his other forms, they are however arranged meticulously so that a sense of depth and intended form can be perceived. Referencing his design education some variations of this style include vases, bowls and plates that are fashioned out of the bubbles, showing convergence in practical and aesthetic design. This is a common trope throughout Danish design.[12] The Glazes in this series are bright, coloured and come in a wide array of colours.

Similar to the bubble series, the ‘spikes’ are a naturalistic form that bears a likeness to a living creature, like a sea urchin for example. These forms were created around 2005-2007 where steen "broke with the traditional understanding of classical forms and made a radical change to a more informal expression".[13] Using bright colours he intended to provoke the imagination of the viewer, extending their perspective of the natural world and perceiving it in new and bright ways. This series is a marker point for when he started to shift away from more traditional forms and into a more organic free-form expression.

Steen's most explored form consists of repeated spherical arrangements moulded together and then ‘tied up’ with strings of PVC or leather. This form, considered by many to be his signature work style, having worked with it consistently since 2007, it is an investigation into the formal structure and repeated natural occurrences.[14] His art-making practice consists of making his own plaster moulds from which the clay balls are formed. Then joining multiple balls together a more wholistic clay structure is made. then, after the clay has dried, Steen then sands the clay until it is completely smooth. Lastly the process of glazing and firing multiple times at very high temperatures so that the colour is even and satisfactory. The result of these efforts is an exploration into form and movement, highlighting the convex and concave curves of the pieces. Steen quotes that “Many years of experience with more rigorous hand modelling of objects has given me the desire to work with a spontaneous, playful, and easy freehand technique. An initial sketch of the scenario helps me to minimize the distance between the idea and the finished object.”[15] Steen explains his intentions behind the work as “to show the contrast to the shape of the object and how I can change the movement of the sculpture while also emphasizing a strong graphical expression”.[16]

‘Extrudox’ a collaboration work between steen Ipsen and Anne Tophoj focused on the form a ceramics as a result of using a tool called an extruder. This machine is often used to create pipes and hollow metal forms for construction. By working with this machine Anne described the ceramic forms as being “finished in the same tempo as they come out of the extruder”.[19] This technique would be described and free and mechanically organic. Compared to much of steen's other work this collaboration is much less perfected and time-consuming. As soon as the clay comes out of the extruder it is already a fully formed and ‘completed’ object, all that is left if to glaze and fired it. Also, whilst steen doesn't often use machines to create his current works like ‘Tied-Up’ this work is very different from anything else he has done.