RESHAPING WASTE WITH KLARA LORD
In this interview, Klara Lord shares her journey from the structured world of shoe design to the unpredictable realm of experimental ceramics. With a background in the fashion industry and a growing concern for sustainability, Klara chose to pursue a master’s degree in ceramics at HDK-Valand, where she explored transformation, materiality, and the hidden potential of ceramic waste. Her work challenges traditional perceptions of ceramics, blending craft with fine art and inviting viewers to question the familiar. From repurposed tiles to kiln-fired surprises, Klara’s practice embodies curiosity, experimentation, and a subtle sense of humor. Join us as she reflects on her creative process, the importance of community, and her upcoming collaborative journey to Japan.
The following interview has been edited and condensed for clarity.
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COMA: Thank you for your time, Klara! Let’s start with your background and your journey into the arts and ceramics. How did your experience in the fashion industry as a shoe designer lead you to pursue a master’s degree in ceramics?
Klara: I have a background in the fashion industry, designing footwear. About 12 years ago, I decided to change my career to art. This decision was largely influenced by a growing awareness of sustainability, which the fashion industry didn’t seem eager to address. Also, creativity often doesn’t have much room in the fashion world unless you’re one of the biggest names.
I wanted to get closer to the kind of dialogue that art allows — with oneself and with an audience — to discuss topics about life and society. Looking back, my favorite part of being a shoe designer was working closely with technicians in factories. Footwear is quite sculptural when you think about it. We used molds for lasts and outsoles, and that sculptural aspect now makes sense in hindsight.
I didn’t realize it at the time, but this experience was leading me toward sculpture. I started in the sculpture department during prep art school and eventually discovered ceramics, though I wasn’t initially interested in it. It was a coincidence that led me to clay. When I started working with it, I found it combined everything I was interested in: craft, materiality, and its presence in daily life.
COMA: Was your experimentation with ceramics a straightforward part of your education, or how did it happen?
Klara: In prep art school, I worked with everything but ceramics. I tried plaster, metal, video, and performance — exploring what sculpture could mean. After that, I studied philosophy and aesthetics for a few years. It wasn’t until later that I found clay.
When I applied to HDK-Valand for their ceramics craft program, I finally focused on ceramics.
The environment there was very open. You could experiment in any way you wanted, and there was so much knowledge to draw from. I realized ceramics is a huge field, and I couldn’t learn everything. Instead, I focused on a small part of it for my art practice.
COMA: How did your experience in the fashion industry influence your practice at HDK-Valand? Did you carry over any ways of working?
Klara: Actually, I had to unlearn a lot. I had to let go of the design process I used in mass production, and really practice to let the research take more space. The environment at HDK-Valand really helped with that. I decided to take my Bachelor’s and Master’s back-to-back to have enough time to go deep into the material. In my BA, I was just getting to know clay and ceramics. Unlike many of my peers, I hadn’t worked with ceramics before — my background was in sculpture. The extended time helped me refine my practice during my Master’s.
COMA: Were there any specific mentors or experiences that helped you solidify your ceramics journey?
Klara: Not one specific mentor, but the community at HDK-Valand was incredible. The amount of knowledge from peers, teachers, and technicians was a huge support. I was struck by everyone’s generosity and willingness to share. That enthusiasm gave me confidence and helped me hold onto ceramics as my field.
The physicality of the material was important too. If I didn’t know what to do in the studio, I could always grab clay and experiment. It made sense to me.
COMA: You work experimentally with ceramics, focusing on transformation and malleability. Can you describe your process and what draws you to this kind of experimentation?
Klara: I love starting with curiosity and not knowing how things will turn out. That’s very different from design, where you always have a target audience in mind.
In my ceramics practice, I often explore the material in unconventional ways. For example, I’ve combined clay with yeast to let the material change shape by itself. I usually don’t have a final form in mind — I’m more interested in seeing how the material behaves. When the work is fired in the kiln, it feels like a collaboration. I select the pieces that best show the transformation that happened.
COMA: You’ve worked with repurposed ceramic waste, like discarded tiles. What sparked your interest in this, and what themes are you exploring?
Klara: I was looking to find an alternative material source and learn how to recycle ceramic material. For my MA project, I was inspired by a PhD dissertation called "World Wide Workshop: The Craft of Noticing" by Nicholas Cheng. He suggested using craft to trace the pathways of materials and uncover hidden aspects of production.
I reached out to a local recycling station and asked about ceramic waste. They told me tiles were the most common. Even if tiles aren’t broken, they’re often discarded as leftovers. I was fascinated by this familiar object and how it could show transformation.
My work often deals with themes like decay, food consumption, and desire — how these concepts mix with consumer behavior. We know a lot about our impact on the planet, yet we still struggle to change our habits. This disconnect fascinates me.
COMA: Ceramics often straddles the line between art and craft. How do you see ceramics fitting into the fine art world?
Klara: It’s complicated,but also makes it more interesting. Painting is often at the top of the art world hierarchy, likely because of its market value and history. Ceramics, on the other hand, has a long history of craft and utility. I like working with ceramics because it’s part of everyday life.
At the same time, working in the art world brings a conflict. The art scene can be high-end and expensive, which feels disconnected from the everyday nature of ceramics. But dedicating my time to ceramics challenges how we perceive it today, especially since many people don’t know how ceramic objects are made.
COMA: What are you currently working on, and what can we expect to see from you next?
Klara: Right now, I’m unpacking some sand experiments from a workshop I did a few months ago. The pieces are greenware — unfired clay — and I’ll be testing firing temperatures. I’m working with a mix of plaster, clay, and sand.
This is part of my preparation for an exchange program in Japan. Next year, I’ll be traveling to the Tottori region to collaborate with local craftspeople. The project will result in a publication and an exhibition in late 2025 or early 2026.
COMA: Where can we follow your journey?
Klara: You can follow me on Instagram!
COMA: We’re looking forward to it. Thank you so much for your time, Klara.
Klara: Thank you!
Stay tuned for more artist interviews and insights into our ongoing exhibition (Season 2). Visit our website and Instagram for the latest updates and to explore the incredible work of emerging artists like Klara Lord.
January, 2025 - COMA Editorial team