A Fusion of Danish-American Heritage and Artistic Expression
Josephine Mette Larsen – Exploring Identity Through Clay
Josephine Mette Larsen discusses her ceramic artistry, blending Danish-American influences, her creative process, and the significance of scale and heritage in her work, offering insights and advice for aspiring artists.
Josephine Mette Larsen is a distinguished Danish-American ceramic artist whose work beautifully reflects her bicultural heritage. Based in Philadelphia, she is currently engaged in a long-term residency at The Clay Studio, where she also teaches. Her educational journey spans a BA in Design from The Royal Danish Academy of Fine Arts and an MFA in Ceramics from Cranbrook Academy of Art, blending Danish craftsmanship with American innovation.
Larsen’s dedication to her craft is evident in her intricate ceramic pieces and her role as an educator. Her achievements include receiving the Creative Entrepreneur Accelerator Program Grant and a grant from the Danish Arts Foundation, supporting her full-time artistic practice. As she prepares for her solo exhibition at The Clay Studio in January 2025, Larsen continues to explore themes of scale, material presence, and cultural heritage, inviting viewers to engage deeply with her art.
What inspired you to work with ceramics, and how did you develop your unique style?
I credit both my inspiration of wanting to work with ceramics and the development of my unique style to my time at The Royal Danish Academy of Fine Arts. The Academy’s three-year program allowed me to fall deeply in love with clay as both a material and a medium, thanks to the small, intimate settings of its classes and workshops. As for my style, I believe my education acted as a catalyst, unlocking an innate artistic voice I hadn’t realized I had developed during my younger years—a voice that emerged fully once I began my studies.
Can you share the story behind one of your favorite pieces or installations?
One of my recent favorite pieces, Oneself vs. The Self, was created in response to the outbreak of the COVID-19 pandemic. This work invites the viewer to become part of the artwork through its highly reflective glaze, applied to a pair of wall-mounted forms with inverse, lens-shaped facades. By employing this literal approach, I experienced a unique sense of agency, enabling the viewer to confront themselves as the sole nucleus of contemplation. The process of creating this piece, as well as witnessing it installed, was profoundly cathartic for me—a long exhale after a deeply chaotic and challenging time for the world.
How do you approach the process of creating large-scale ceramic works?
I always begin with a general idea of the form, but a common misconception about my work is that each piece is meticulously designed and mapped out beforehand. In reality, the physical process of creating larger pieces serves as both the fuel and catalyst for the work, revealing new possibilities and hypotheses as the architecture of the form gradually evolves. Working on multiple large pieces simultaneously is essential for maintaining a dynamic workflow, as the additive process can only occur when the clay stiffens to leather-hard. Rotating between silhouettes keeps the process fluid and prevents stagnation.
What role does your Danish-American heritage play in your artistic expression?
Growing up in the United States with Danish parents, I was immersed in Danish language and culture from an early age. Our home stood in stark contrast to the typical American houses I was welcomed into over the years. While many homes featured beige walls, dark brown interiors, and heavy furnishings, our household was brightly lit with open windows, filled with Danish-designed furniture and household items that emphasized simplicity of line, form, and meticulous attention to detail. This foundation has shaped my inherent interest in objects and architecture with similar qualities. I see maintaining this minimalist and thoughtful approach in my work as a vital way to honor my heritage, especially in a world where “more is more” often dominates.
Can you describe the significance of scale and embodied experience in your art?
My undeniable interest in architecture fuels my fascination with scale in ceramics and its ability to challenge our understanding of what an object can be. Scale is intriguing because it operates as a threshold, shifting perception and redefining boundaries. At the core of my practice is an exploration of material presence and its impact on the viewer—a raw, immediate, bodily response to physical manifestations of volume, void, and the interplay between them. The juxtaposition of elemental components such as shape, form, line, and space drives my inquiry into how these aspects evoke sensory and emotional engagement.
What advice would you give to aspiring ceramic artists looking to establish their voice in the field?
Stay true to yourself, your principles, and your vision, and never give up. The most important thing you can do is to keep making—keep going and pushing forward, even through the hardest times. As a ceramic artist, I am painfully dependent on physical equipment like kilns to undertake my work. There have been periods when I didn’t have access to these resources for extended stretches, but I continued my practice through other means, such as drawing, writing, reading, and photography. The key is to remain engaged with your work and creative process, no matter the circumstances. Consistency and persistence are key.
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