beeswax
each 90 × 10 × 10 cm

Through ongoing melting and reshaping, new structures from beeswax emerge. Models of possible permanence set against the fragile, time-bound nature of the material. At once fragments and foundations, they may lead to something larger still to unfold.

Beeswax tiles, porcelain vessels, water, flowers, website: bachnervessels.com

As an extension of Bachner’s artistic practice, Bachner Vessels is a porcelain brand giving acces to limited editions of applied objects. Combining art, design, and utility, the project expands the scope of her work and builds a broader framework for collaboration with other artists and designers.
Bachner Vessels explores porcelain as an expressive medium and a complex of colours and textures. Over time, the results will gather into an archive of forms, part objects, part sculptures. These shapes are vessels, technologies, carriers, but also ornaments and aesthetic language. Each form is modelled in beeswax, slip-cast in plaster, shaped from porcelain, and fired at high temperatures–fluid material turns into solid, enduring matter.

Beeswax, wicks, screws 
195 × 115 × 0.1–0.5 cm, 3.5–6 liters
Number of panels is variable 

Thin beeswax panels, 0.1–0.5 cm thick, are mounted on the wall with embedded wicks. For each installation, the panels are melted and poured again. Each plate is a direct reflection of external influences, showing traces of wind and weather, as well as the movement while pouring it. The process references the historical preparation of white sacral candles, which were made by pouring beeswax into thin sheets and bleaching them in the sun. Depending on the age, purity, light exposure, and pollination area, the wax assumes different shades, ranging from light to dark yellow.

Beeswax 
r 700 × h 0.3 × w 5 cm, 2.8 liters

A quarter-circle segment made from oxidized beeswax is poured on the floor within a 7-meter radius of the entrance door.

Beeswax cast, fiberglass rods, aluminum tips, hanger bolts, adjusting rings 
340 × 30 cm, ∅ 4 cm, 4.3 liters and 210 × 30 cm, ∅ 4 cm, 2,7 liters

I use beeswax to create a model and sketch that is an archive of memories and allows new things to emerge. The wax sculpture, seen in a continuous state of in-betweenness, represents a preliminary stage of traditional wax-casting processes for metal sculptures. In this wax state, the sculpture hints at the potential final (and permanent) outcome of the form.

Porcelain, rubber tubes, aluminum
Three to nine parts, each approx. 70 × 50 × 8 cm

gggfff is a group of abstract hollow forms made of porcelain. They are attached to the wall with rubber hoses and can be variably combined with each other. The title is the connotation of letters to the respective figures and changes depending on their arrangement.

Mantelpiece made from extractor pipes, beeswax, chalk spray

Dust, dunst, gust, still things are in place. noch immer [still] is installed in a former bunker near the canal in Rotenburgsort, Hamburg. Beeswax models of flowers, frames, and urns question the symbolic nature of these objects and reflect on funeral customs – as a recyclingprocess, as well as its potentialities for memorial culture.

Porcelain, pigments, oxides, aluminum
Each tile 18 × 30 cm

Rectangular tiles and figures made of porcelain are assembled into wall murals and mounted in aluminium frames. Forms are first worked up in beeswax or wood before porcelain is poured repeatedly into negative plaster casts. The components can be variably combined with each other and follow digital graphic sketches. Test pieces for the reaction of various pigments and oxides form the ongoing series Wand 1.

Porcelain, pigments, oxides, aluminum
Each part 36 × 61 × 2 cm, installation dimension is variable

Wand 1 is an ongoing series of modular porcelain wall pieces. The series studies the chemical reactions of various oxides with porcelain during the firing process, as well as graphic and colour concepts. The format is influenced by the use of samples in architecture and design, serving as a pre-stage for idea realization.

Porcelain, copper oxide, steel
Dimensions variable

Grids made from porcelain infused with copper oxide are placed onto tiles, leaving an imprint during the firing process. Due to material tensions caused by heat, the grids shatter, while the tiles remain intact.
The series shows processes of fragmentation and decomposition and the simultaneous attempt to preserve memory through language, symbols and signs.

10 porcelain cups made by the artist, 10 cups in exchange

On the occasion of the exhibition Reboot, ten hand-made porcelain cups were exchanged with ten mugs from the office of the Pfefferwerk Stadtkultur gGmbH social institution. In the exhibition space, the employees' mugs are placed on borrowed tables and chairs. The installation loosely references the history of the site, which was once a brewery and club and is now being transformed into a studio and gallery space. The arrangement of objects connects to social and bureaucratic structures, highlighting moments of togetherness in our everyday lives.

Digital print in aluminium frame and digital print on Alu Dibond
60 × 40 and 10 × 18 cm

Photo series of three hats, made from found office carpet, that also funktions as an infinity cove. The opening of one hat is facing upwards as a vessel, the other two are stacked on top of each other, placed next to it.

Porcelain, connectors, steel  
350 × 310 × 90 cm and 360 × 70 × 50 cm

Curved and straight pipe segments made of porcelain are connected to each other and mounted at railing height.

Heat-sensitive order slips imprinted with metal objects turned into zinc etching plates
Series of 20, stacks variable, each 8 cm wide

During her shift at a café where she worked as a side job, Bachner collected order slips. The heat-sensitive paper is imprinted with heated everyday metal objects and transformed into zinc etching plates. Where the slips were once impaled on a nail after each completed order, a hole is now drilled into the plates to hang them.