FLOW

Flow is the state I found myself in the first time I touched porcelain. It’s also where raiars was born.

It began with a curiosity. I wanted to understand how porcelain was different from clay, so I made something small — a ring.

I loved that ring. I wore it all the time. People noticed it and asked about it. I got so excited that I kept making more.

The pieces that followed were nowhere near as successful. But it didn’t matter anymore. That first ring had already shown me what was possible, and I couldn’t stop wondering how far I could go if I kept learning.

Somewhere in between, a new dream quietly appeared.

What if I made porcelain jewellery?

As soon as I started modelling porcelain, everything around me became quiet.

Hours disappeared.

I always wanted just a little more time at my worktable.

That’s where this collection found its name.

Flow.

Looking back, I think I had been carrying so much uncreated work inside me. Porcelain became the place where it could finally begin to take shape.

Ideas started flowing. What I gather from everyday life keeps transforming into what my hands create. It finds its way back into the world in a new form.

For me, this has become the most natural way of giving shape to what I carry within.

I wanted to understand the material well enough to let it become anything, and it became everything.

Everything that fascinates me, draws me in, and sometimes even obsesses me: shapes, shadows, flowers, the movement of water, the Rhine at sunset, the bending of a leaf in the wind, a thought I keep returning to.

When I work on a new piece, I often begin without a rigid plan. Maybe with an idea, but always with enough freedom to let the material surprise me.

Every piece is shaped entirely by hand from porcelain clay. I don’t use moulds, which makes each piece truly unique.

I let the porcelain dry a little, then I begin carving, using sponges, brushes, and a few other simple tools. When you work with clay, almost anything can become a tool.

From there, I keep paying attention to what the material can do in that particular moment — depending on its moisture, the temperature in the room, and the way it responds.

I don’t want to force it too quickly into a certain shape. I try to listen first, to work with it rather than against it. I let it guide me in the beginning before I take control and refine the details.

I often think it’s a beautiful philosophy for life, too.

Each piece is then fired twice — first at 960°C and then at 1240°C — a process that vitrifies the porcelain, making it both delicate and remarkably strong. Some pieces undergo a third firing when I apply 24k colloidal gold or platinum, permanently fused with the porcelain during the final firing.

Some resemble flowers. Others remind me of waves or water. Some hold a feeling captured in porcelain.

I believe all these shapes are the result of letting myself remain in awe and of paying attention.

The more I create, the more I realise that nothing I truly notice is ever wasted.

We spend years loving flowers, photography, nature, textures, light, beautiful objects… without knowing why.

Then one day, they all flow together.

This collection is what happened when mine did.

Flow continues with every new piece I make.

I hope these jewelry pieces become part of your own flow — something you make your own, wear with ease, and return to often, wherever life happens to take you.