Veronika Janovec's Kreuzberg apartment becomes a living gallery where her ceramic sculptures converse with space. Trained as an architect, she treats clay with a weightlifter's discipline—iterative, gestural, attuned to material intelligence. Her 'mother form' and winged series emerge from repetition that yields subtle variation, each piece a study in edge and cavity.

Janovec's practice hinges on the tension between solid and soft, containment and release. She cites John O'Donohue's notion of an unwounded inner place, embodied in the hidden cavities of her vessels. Her work invites close looking: what appears as wood or metal reveals itself as clay, ambiguity its lasting charge.