The Creation Process
From Spark to Iconic Piece
Every Thomsa piece is born from an emotion, then shaped through rhythm, patience, and deliberate gestures. It is a process of creation, but above all, a becoming.
I never know exactly what will emerge.
And I don’t want to. I like to intervene as little as possible—just to create the conditions for the form to appear. Sometimes it falls apart. Sometimes it surprises me. Some pieces are born easily; others keep me waiting. Some stay silent; others ask for glaze, a contour, a mistake. What I do is not control—it’s a quiet negotiation with the material.
The Creation Process
From Spark to Iconic Piece
Every Thomsa piece is born from an emotion, then shaped through rhythm, patience, and deliberate gestures. It is a process of creation, but above all, a becoming.
I never know exactly what will emerge.
And I don’t want to. I like to intervene as little as possible—just to create the conditions for the form to appear. Sometimes it falls apart. Sometimes it surprises me. Some pieces are born easily; others keep me waiting. Some stay silent; others ask for glaze, a contour, a mistake. What I do is not control—it’s a quiet negotiation with the material.
The Creation Process
From Spark to Iconic Piece
Every Thomsa piece is born from an emotion, then shaped through rhythm, patience, and deliberate gestures. It is a process of creation, but above all, a becoming.
I never know exactly what will emerge.
And I don’t want to. I like to intervene as little as possible—just to create the conditions for the form to appear. Sometimes it falls apart. Sometimes it surprises me. Some pieces are born easily; others keep me waiting. Some stay silent; others ask for glaze, a contour, a mistake. What I do is not control—it’s a quiet negotiation with the material.
Somewhere between hand and algorithm, a Thomsa piece is born.
Here, clay is not just material – it is damp memory, the pulse of the earth. We sit at the worktable with living ideas. We shape emotion layer by layer – not just form. Each stage is a pact between thought, code, and touch. And what leaves the Thomsa studio is not an object, but a fragment of truth, sculpted with care.
Somewhere between hand and algorithm, a Thomsa piece is born.
Here, clay is not just material – it is damp memory, the pulse of the earth. We sit at the worktable with living ideas. We shape emotion layer by layer – not just form. Each stage is a pact between thought, code, and touch. And what leaves the Thomsa studio is not an object, but a fragment of truth, sculpted with care.
Somewhere between hand and algorithm, a Thomsa piece is born.
Here, clay is not just material – it is damp memory, the pulse of the earth. We sit at the worktable with living ideas. We shape emotion layer by layer – not just form. Each stage is a pact between thought, code, and touch. And what leaves the Thomsa studio is not an object, but a fragment of truth, sculpted with care.
Source of Creation
It all begins with a state of mind. An inner tremor, a silence asking to be shaped.
We sit before the material, not to dominate it, but to listen.
We look at the shapes in nature – the crack of a sunlit hill, the traces of water on dry clay, the silent dialogues between texture and light.
Inspiration comes from contrast and stillness, from the poetic imperfection of the world.
Every Thomsa collection begins with an emotional exploration – sketches made of thoughts, visual fragments, echoes of sound, or the memory of touch.
From here, the guiding thread is born – a living concept that will shape form and technique, color and texture, the thickness of each layer, and the precise moment when the clay must be left to breathe.
Source of Creation
It all begins with a state of mind. An inner tremor, a silence asking to be shaped.
We sit before the material, not to dominate it, but to listen.
We look at the shapes in nature – the crack of a sunlit hill, the traces of water on dry clay, the silent dialogues between texture and light.
Inspiration comes from contrast and stillness, from the poetic imperfection of the world.
Every Thomsa collection begins with an emotional exploration – sketches made of thoughts, visual fragments, echoes of sound, or the memory of touch.
From here, the guiding thread is born – a living concept that will shape form and technique, color and texture, the thickness of each layer, and the precise moment when the clay must be left to breathe.
Source of Creation
It all begins with a state of mind. An inner tremor, a silence asking to be shaped.
We sit before the material, not to dominate it, but to listen.
We look at the shapes in nature – the crack of a sunlit hill, the traces of water on dry clay, the silent dialogues between texture and light.
Inspiration comes from contrast and stillness, from the poetic imperfection of the world.
Every Thomsa collection begins with an emotional exploration – sketches made of thoughts, visual fragments, echoes of sound, or the memory of touch.
From here, the guiding thread is born – a living concept that will shape form and technique, color and texture, the thickness of each layer, and the precise moment when the clay must be left to breathe.
From Concept to Creation
A well-formed idea never rushes.
At Thomsa, every piece emerges from an inner time — where thought takes shape as volume, and emotion becomes structure.
What appears as matter is, in truth, a state of becoming.
The next seven stages trace the path from intention to final form — with discipline, patience, and a hint of wonder.
From Concept to Creation
A well-formed idea never rushes.
At Thomsa, every piece emerges from an inner time — where thought takes shape as volume, and emotion becomes structure.
What appears as matter is, in truth, a state of becoming.
The next seven stages trace the path from intention to final form — with discipline, patience, and a hint of wonder.
From Concept to Creation
A well-formed idea never rushes.
At Thomsa, every piece emerges from an inner time — where thought takes shape as volume, and emotion becomes structure.
What appears as matter is, in truth, a state of becoming.
The next seven stages trace the path from intention to final form — with discipline, patience, and a hint of wonder.
The 7-Step Thomsa Process
Every stage is a story of its own.
The 7-Step Thomsa Process
Every stage is a story of its own.
The 7-Step Thomsa Process
Every stage is a story of its own.
1. Authentic Inspiration
An idea does not become form all at once. You have to slow it down. Distill it, layer by layer, until it becomes clear. Persuade it to accept the material — with its limits, its beauty, its resistance.
Thomsa’s inspiration does not come from trends, but from slow observation, from the things that linger in the senses long after they have faded from sight.
2. Concept and Sketchwork
A form is never imposed. It reveals itself. On paper, the idea is only a promise — a fragile line learning to keep its balance. Gravity becomes the guide, and the sketch a pact between imagination and reality.
3. Prototype and Test
First comes the invisible skeleton — a contour pulsing in lines of code, drawn digitally in Rhino or traced by hand. Splines arc, proportions rebalance — until the form reaches that perfect tension between intention and material.
1. Authentic Inspiration
An idea does not become form all at once. You have to slow it down. Distill it, layer by layer, until it becomes clear. Persuade it to accept the material — with its limits, its beauty, its resistance.
Thomsa’s inspiration does not come from trends, but from slow observation, from the things that linger in the senses long after they have faded from sight.
2. Concept and Sketchwork
A form is never imposed. It reveals itself. On paper, the idea is only a promise — a fragile line learning to keep its balance. Gravity becomes the guide, and the sketch a pact between imagination and reality.
3. Prototype and Test
First comes the invisible skeleton — a contour pulsing in lines of code, drawn digitally in Rhino or traced by hand. Splines arc, proportions rebalance — until the form reaches that perfect tension between intention and material.
1. Authentic Inspiration
An idea does not become form all at once. You have to slow it down. Distill it, layer by layer, until it becomes clear. Persuade it to accept the material — with its limits, its beauty, its resistance.
Thomsa’s inspiration does not come from trends, but from slow observation, from the things that linger in the senses long after they have faded from sight.
2. Concept and Sketchwork
A form is never imposed. It reveals itself. On paper, the idea is only a promise — a fragile line learning to keep its balance. Gravity becomes the guide, and the sketch a pact between imagination and reality.
3. Prototype and Test
First comes the invisible skeleton — a contour pulsing in lines of code, drawn digitally in Rhino or traced by hand. Splines arc, proportions rebalance — until the form reaches that perfect tension between intention and material.
4. Coding and Printing
The form becomes rhythm.
We move with precision: 22 mm per second, a 1.6 mm layer – like a slow, continuous breath. The code takes the intention and draws it in clay, in circles that do not repeat but return to themselves. A circle is never just a circle. It is the imprint of a thought that knew where to begin and when to stop.
5. Drying into Transformation
Here, there is nothing left to add. Only time. And silence.
The piece breathes on its own, at its own pace — contracting, hardening, settling into itself.
Sometimes it needs a day. Other times, three. Too fast, and it cracks. Too slow, and it loses its pulse. The transformation begins within, unseen — like an acceptance of its new form.
Here, form becomes being.
6. Glaze and Depth
The glaze does not cover. It reveals. We choose the right transparency — a color that does not color, but breathes.
Each layer is applied with restraint — matte, perhaps glossy, but never decorative.
It is a thin film of truth, one that amplifies the cracks rather than hides them. The clay remains visible. The intention — even clearer.
4. Coding and Printing
The form becomes rhythm.
We move with precision: 22 mm per second, a 1.6 mm layer – like a slow, continuous breath. The code takes the intention and draws it in clay, in circles that do not repeat but return to themselves. A circle is never just a circle. It is the imprint of a thought that knew where to begin and when to stop.
5. Drying into Transformation
Here, there is nothing left to add. Only time. And silence.
The piece breathes on its own, at its own pace — contracting, hardening, settling into itself.
Sometimes it needs a day. Other times, three. Too fast, and it cracks. Too slow, and it loses its pulse. The transformation begins within, unseen — like an acceptance of its new form.
Here, form becomes being.
6. Glaze and Depth
The glaze does not cover. It reveals. We choose the right transparency — a color that does not color, but breathes.
Each layer is applied with restraint — matte, perhaps glossy, but never decorative.
It is a thin film of truth, one that amplifies the cracks rather than hides them. The clay remains visible. The intention — even clearer.
4. Coding and Printing
The form becomes rhythm.
We move with precision: 22 mm per second, a 1.6 mm layer – like a slow, continuous breath. The code takes the intention and draws it in clay, in circles that do not repeat but return to themselves. A circle is never just a circle. It is the imprint of a thought that knew where to begin and when to stop.
5. Drying into Transformation
Here, there is nothing left to add. Only time. And silence.
The piece breathes on its own, at its own pace — contracting, hardening, settling into itself.
Sometimes it needs a day. Other times, three. Too fast, and it cracks. Too slow, and it loses its pulse. The transformation begins within, unseen — like an acceptance of its new form.
Here, form becomes being.
6. Glaze and Depth
The glaze does not cover. It reveals. We choose the right transparency — a color that does not color, but breathes.
Each layer is applied with restraint — matte, perhaps glossy, but never decorative.
It is a thin film of truth, one that amplifies the cracks rather than hides them. The clay remains visible. The intention — even clearer.
7. Firing and Revelation
Fire does not forgive. But it knows how to give a form its final shape. The piece enters the kiln at over 1000°C, time disappears, and all that is uncertain becomes destiny. Some surfaces retreat, others expand. Cracks appear as testimony, not as flaw. We do not control everything. Nor do we wish to. Because only after firing does a piece truly become ours. And only then is it ready to belong to someone else.
7. Firing and Revelation
Fire does not forgive. But it knows how to give a form its final shape. The piece enters the kiln at over 1000°C, time disappears, and all that is uncertain becomes destiny. Some surfaces retreat, others expand. Cracks appear as testimony, not as flaw. We do not control everything. Nor do we wish to. Because only after firing does a piece truly become ours. And only then is it ready to belong to someone else.
7. Firing and Revelation
Fire does not forgive. But it knows how to give a form its final shape. The piece enters the kiln at over 1000°C, time disappears, and all that is uncertain becomes destiny. Some surfaces retreat, others expand. Cracks appear as testimony, not as flaw. We do not control everything. Nor do we wish to. Because only after firing does a piece truly become ours. And only then is it ready to belong to someone else.
The Form That Stays
Some processes never end. They are simply carried forward. What you have seen is not just a method — it is a pact between matter and intention, between gesture and thought. Thomsa pieces are not products. They are traces of a presence. Answers in clay to questions unspoken. If you feel the echo, perhaps it is time to meet the pieces that have already chosen to exist.
The Form That Stays
Some processes never end. They are simply carried forward. What you have seen is not just a method — it is a pact between matter and intention, between gesture and thought. Thomsa pieces are not products. They are traces of a presence. Answers in clay to questions unspoken. If you feel the echo, perhaps it is time to meet the pieces that have already chosen to exist.
The Form That Stays
Some processes never end. They are simply carried forward. What you have seen is not just a method — it is a pact between matter and intention, between gesture and thought. Thomsa pieces are not products. They are traces of a presence. Answers in clay to questions unspoken. If you feel the echo, perhaps it is time to meet the pieces that have already chosen to exist.
How Does a Thomsa Collection Come to Life?
A collection is born from a recurring idea — an emotion that returns, a question that refuses to leave. The forms come only once the meaning is clear. Then follow the tests, the sketches, and the codes that translate emotion into ceramic volume.
Why Are Local Materials Important?
Thomsa pieces are created with respect for place. Local red clay, recycled ash, and mineral powders give each piece an authentic imprint. We do not seek just matter — but meaning and belonging.
How Long Does It Take to Create a Piece?
A Thomsa piece has no standard creation time. It may take days — if the form is certain of itself. Or weeks — if it is still searching for its balance. For us, time is not a pressure, but an ally.
How Does a Thomsa Collection Come to Life?
A collection is born from a recurring idea — an emotion that returns, a question that refuses to leave. The forms come only once the meaning is clear. Then follow the tests, the sketches, and the codes that translate emotion into ceramic volume.
Why Are Local Materials Important?
Thomsa pieces are created with respect for place. Local red clay, recycled ash, and mineral powders give each piece an authentic imprint. We do not seek just matter — but meaning and belonging.
How Long Does It Take to Create a Piece?
A Thomsa piece has no standard creation time. It may take days — if the form is certain of itself. Or weeks — if it is still searching for its balance. For us, time is not a pressure, but an ally.
How Does a Thomsa Collection Come to Life?
A collection is born from a recurring idea — an emotion that returns, a question that refuses to leave. The forms come only once the meaning is clear. Then follow the tests, the sketches, and the codes that translate emotion into ceramic volume.
Why Are Local Materials Important?
Thomsa pieces are created with respect for place. Local red clay, recycled ash, and mineral powders give each piece an authentic imprint. We do not seek just matter — but meaning and belonging.
How Long Does It Take to Create a Piece?
A Thomsa piece has no standard creation time. It may take days — if the form is certain of itself. Or weeks — if it is still searching for its balance. For us, time is not a pressure, but an ally.