Lillian Tørlen is a ceramic artist living and working in Norway. Her work is site-related and inspired by the environment where the work will exist, inviting the viewer to pause, contemplate and re-evaluate space.
What have you rebelled against in the past, and what are you rebelling against now?
I don’t feel like a rebel to be honest. I just like to follow my own way and do things how I want to do them. Nobody has tried to stop me from that, so there hasn’t been a need to rebel. If I do rebel at something, it is the routinely acceptance of “how things are”. I’m trying to see things a different way, from my own point of view, pushing boundaries and constrictions.
Do you need to be a rebel to enjoy your work?
Hehe, I don’t think so. But you might appreciate colouring outside the lines sometimes.
Do you use your own work?
Yes, I do, though I mostly use the test-pieces and those that didn’t work out 100% how I wanted them to. They still make me happy.
Do you think dishware can still be improved? If yes, in what way?
I don’t know if improved – with regards to functionality – but certainly rethought.
What was the inspiration for your Steinbeisser series?
As I often have a point of departure in human psychology and how we relate to our surroundings, this time I’ve played with function and dependency. Both in how the ceramic and wood pieces relate to each other, as well as the relationship between individuals and the objects in the handling of them. I wanted to play with the idea of function/non-function and the interaction between people and object in the context of dining. The inspiration was the idea of co-dependency, the roles we take and how we rely on each other in a sometimes unproportionate ways. I think of functional dishware as a supportive structure of the meal, something to serve on and eat off. And hopefully it looks good while doing it. I wanted to have the dishware turn the table on this notion and make pieces that would themselves need supporting structures, other objects to prop them up, and diners and service staff to help out. Something that would make demands, and that unabashedly would be complicating the dining experience. At the same time, they have a fragility and vulnerability, in that they actually are kind of helpless, without support they don’t work.
Describe your work in 3 words!
Playful. Poetic. Reflective.
What kind of materials do you use and where do you get them from?
The clay is bought and mixed to get the textures and colours I’m looking for. The “supports” are made out of wooden scraps and leftovers. I’ve got a difficulty throwing/walking away from nice materials, though I don’t really have the space to store them. This project gave me an opportunity to go “hey, I knew I was saving this for a reason!”. In addition, bits were found in the cut off pile at the local wood shop, a few bits of trees that we cut down in my parents’ garden, a piece from the neighbour of a friend and so on. I don’t like wasting things, but I also like giving importance to things that aren’t necessarily perceived to have a value. Some are kept almost as they were, whilst others are shaped and adapted to fit, before coating them with a protective layer of oil.
What are you working on right now?
I’m making a few more objects in the ADO – Annoyingly Dependent Objects – series for an exhibition in Oslo. In addition, I’m working on an exhibition where I will work with paper to make a spatial site-specific installation.
What has been your favourite dinner experience?
There’s been quite a few good ones. What they have in common is great food combined with drinks that elevate and enhances the flavours, that the food excites me and that I experience something new. The setting of the place and the people around me also make a big impact on the experience.
What excites you about tomorrow?
That it hasn’t happened yet, so anything is possible.
What further ambitions do you have?
To continue doing what I’m doing and work site specific both in galleries, public spaces, and maybe even private homes. Exploring new spaces, materials and techniques. Learning more. Being challenged. And always have the opportunity to be working with clay. I’d also love to make more site-specific permanent installations. And do big stuff.