I use clay to express my interest in and feeling for pre-industrial cultures and architecture, as well as the natural environment. The clay forms are expressions of my eclectic interests, background, personal philosophy, and love for life. What drives my work is my basic curiosity, and my determination to challenge myself continually. I respect and appreciate the studio potter's approach, but it is not what works for me.

My inspirations come from my surroundings in Denmark, specifically from the oldest Danish architecture using the sparse building techniques, which fascinates me. The structures, when decayed, open up to us and reveal their inner strength and soul.

Installation at the University of Minnesota in the fall of 2004. Photo by Peter Latner.My work is divided into two main groups, large – and small – scale pieces. The large-size architectural Fire Sculptures, about four meters tall and site-specific, are built and fired in place. My smaller pieces, built in my studio, are also architectural and figurative. In my newer pieces an informal constructivism takes place. As a three-dimensional sculpture should be able to be viewed from all angles, I feel it is of paramount importance that my sculpture also reveal its inside! Therefore, my upside-down pieces.

My inspiration for the Fire Sculptures came out of my frustration over the limitations of kiln size and building and drying time. Moreover, it has always bothered me that many outside sculptures do not fit the landscape in which they are placed.

Process has always been the most important aspect, from sketch to finished work. Having worked in many countries with new sets of assistants, each place in a new environment has taught me to be flexible and to be grateful for the support and insight given to me. The peak moment for me is when we let the curtain fall and the sculpture is revealed in its glowing stage. A short moment, never to be repeated. Sawdust thrown onto the piece keeps the temperature from falling too fast. This also flares up and brings the sculpture back to life. The color changes little by little and the true colors appear when the work has cooled off.

I do not seek perfection or beauty. I am intrigued by imperfection, the absurd, and the interdisciplinary way of thinking. By working this way with my Fire Sculpture I invite the public to participate in my risk-taking. This forces me to "get my act together" and be 100 percent focused.

Last but not least, the communication through the clay has always fascinated me. Clay has a language of its own. The smell, the touch, the tactile qualities and the process stimulate other parts of the brain that in many instances lie dormant. We can communicate not only with the ancient world but also with the contemporary one. Living in Denmark, where both are embraced, I am continually moved by the way the two are woven together.