New Zealand-born ceramicist Franca Christophersen knows a thing or two about quality craftsmanship. Her exploration of both traditional and abstract techniques lends itself to a minimalist sensibility, putting an equal measure of importance on both quality and beauty in the process.

Now based in Copenhagen where she first moved for her studies in 2018, Franca’s considered approach to design and curiosity for the malleability of clay has piqued the interest of design leaders around the world, seeing her work on projects and collaborate with industry heavyweights such as Acne Studios, OEO Studio, and Studio 0405 to name but a few.

I was lucky enough to recently meet with Franca in her new Copenhagen-based studio to chat further with her about her love of design and the creative process. From sculpture stonewares to porcelain, every project she takes on and every design produced is a visual delight…

Read on for more.

 Can you please share with us a bit about how you came to work with ceramics, and how the last few years have informed the life you lead in Copenhagen today?

I fell into this world of ceramics by chance. In late 2016 I was working full-time in various HQ roles for a menswear fashion label. My roles were mainly logistic and computer orientated, so I wanted an outlet after work where I could be more hands on with materials. I signed up for a group evening class with a friend at the Ceramic College in Auckand, New Zealand. My friend bailed out last minute, but I decided to still go. It’s a little crazy how these small decisions can lead us down a completely different path. The next year I changed jobs, so I could cater for the curiosity I had in this new field. In 2018 after attending another workshop at Auckland Studio Potters, I ended up moving to Copenhagen for a 2 year program as an apprentice to Eric Landon. I stayed at his studio for 2.5 years; learning and working  full-time. Essentially this experience served as the foundation for my career. I am very thankful for that opportunity.

Please tell me more about the important values your brand is built on, your design language and design philosophy.

Intuition is a leading aspect that influences how I work, grounded upon previous experiences in my earlier 20’s. I worked in fashion for sometime, and worked for Aēsop for a period after that before I moved to Copenhagen. An acknowledgement towards the finer details, quality materiality and embracing human interaction have become an integral part of my instincts as a maker. The pieces should evoke a sense of curiosity to the beholder. A balance of subtle textural surfaces on forms that are precise, balanced and considered. Often the pieces are functional. They should be embraced for use, cared for, and the finishes examined up close.

When you’re dreaming up new designs, where do you find your inspiration?

I work best when my mind is silent, and focusing on one idea. Right now I’m focusing on looking inwards; asking myself various questions during the making process and writing these down. There’s a vast array of options in ceramics. I’m trying to keep my mind to a single path of thoughts that accumulate through sub-conscious observation and explore those further.  Often an internal question when making one shape will lead to another, or experimenting with various glazes on a single clay type will lead me down another. I think of ceramics as a marriage between form and finish. The two don’t automatically interlink, so it’s often a balancing act of trial and error.

What does a typical day look like for you? Do you have any daily rituals you like to follow?

I very much enjoy my mornings, I like the pace to be smooth. It very much sets up my mental headspace for the day. Either I’ll come in very early 7.30 / 8am, or later around 9am after meeting a friend for breakfast. Sometimes I will work into the later evenings if I hit a period of intense focus. Every day is a little different. In terms of daily rituals, I’ll often start the working day in the front room of my studio, along with a hot cup of coffee or green tea. The sun beams through the larger windows, so I’ll sit at the round Farmhouse Table by Frama and check in on emails, and make a plan for the day.

What’s next for your business? Are there any projects you are currently working on that you can share with us?

I moved into a new studio space on the 1st of June.  Conveniently in the same building I’ve worked in for the last 3 years. I just moved down a floor to a studio with more space and storage. I have plenty of heavy materials and equipment, so I feel extremely fortunate that I only had to move everything down a single flight of stairs.

Currently I’m finishing up a private client commission with OEO studio, a collection of functional pieces that are being sent to California. It’s been an insightful experience working on the pieces with Thomas Lykke & Anne-Marie Buemann; balancing various clays, finishes and forms that are fit for daily use.  

Going forward, my workflow will be balanced between focusing on a larger body of work and teaching several individually curated one-on-one workshops for the summer of 2023.

What music are you listening to at the moment?

When I’m in the midst of producing a series of repetitive works, I’ll often listen to a History Podcast of sorts. Either “History This Week” or something else on offer by Wondery on Apple Podcasts.

Music wise, for the studio it needs to be ambient and have a repetitive rhythm.. evoking a sort of meditative state for concentration.

“Zaka” - Jaja

“Corazon de Rubi” - El Bùho

“Xica Xica” - El Bùho, Uji, Barrio Lindo

Album “Natten” - Bremer/McCoy

Album “On Giacometti” - Hania Rani

Album “Over Tage” - Svaneborg Kardyb

For more, visit franca-christophersen.com