In the Corner Compositions the ubiq­uitous architectural element is treated as a fragment and developed into free standing ceramic objects. Each object is constructed from press moulded and/or extruded elements assembled in a way that creates a shift in weight and figuration. This ‘fault line’ both de­fines and interrupts the composistion. It thereby underlines the fundamentally ambiguous nature of the corner as a spacial arrangement which defines and limits, protects and imprisons, unifies and divides.