Stefan Andersson

"When looking at my work you should expect to see marks. Maybe a fingerprint, ridges from throwing, scars from how
they where stacked in the kiln and patterns created by fire. To me these marks are decorative and very much a part of
the pieces spirit. However I let them come naturally and not by force.”

In the early 2000’s Stefan Andersson started his journey to become a potter by joining his ceramist uncle, Jan-Åke Andersson,
in Tibro as an assistant. Throughout the years Stefan has learned to truly master and develop the skills of pottery and the
wood fired kiln, from which he unloads small series of unique pottery as an antithesis to industrial large scale production.
Today, with almost two decades of training, education, rewards, exhibitions, teaching and many fine diplomas, Stefan and his
family is based and work in Alvik Village, Dalecarlia of Sweden.

At Nitty Gritty we have used old pottery in our store displays for years, only for its beauty and never to be sold, despite
countless requests from customers. In April we sat down and had a chat with Stefan and asked if he wanted to develop
something special to offer these customers. The result is three items - a vase/jug, a mug/cup and a small bowl.
All of them hand thrown and wood fired in the end of July by Stefan in his workshop in Alvik.

What are you thoughts on selling your objects at a place like Nitty Gritty?

- I find it very exciting to explore new ways and approach new scenes with my pottery. I believe the future lays in co-operations just like this one with Nitty Gritty! A plus was that they approached me.

What was the inspiration behind the objects you chose to make for us?

- For NG i wanted to make an earthy rustic kind of pot but with a sober elegance that I find in their shop. The shapes are made for generous use and for instance, the water cup, I envisioned the owner drinking gulps rather than sipping.
I ended up making the pots out of a dark clay with a white slip on top. They are wood fired for two days in the very front of my kiln in order to get a wider range of surfaces that hopefully will grow on its owner over time.

You are releasing a book about pottery and your work later this autumn, how has it been making that project come to life?

- With the book I’ve had taken the time to really boil down what’s important in pottery making. Making a book on pottery rather than ceramics has given me time to reflect on their individual differences and the luxury to dive deep into the skills and histories I love.
It has also been so much fun having a team of talented people, photographer, editors and designer working with me and making it much better than I could have done myself.