Andrei Clontea is a self-taught artist who has seamlessly transitioned from architecture to ceramics. Splitting his time between Luxembourg and Brussels, he has embarked on an artistic journey exploring the infinite possibilities that clay has to offer. His work manifests as sculptural forms that draw inspiration from the  elegance of nature, the grace of animals, and the complexity of the human body. By translating these influences into organic shapes with earthy textures, he brings a harmonious balance between rawness and refinement.  

While nature serves as a wellspring of inspiration, his artistic vision transcends its mere replication. His architectural background manifests in his approach as he weaves elements of structure, texture and light into his  ceramic pieces. It is through this fusion of natural and architectural sensibilities that his art assumes a distinct character – a dialogue between seemingly contrasting elements. Through his sculptural forms he invites viewers to embark on a sensory journey where they can explore the intricate relationship between human,  nature, and architecture.

1. Where were you born and where are you from ?

I was born in Bucharest but spent my formative years ping-ponging between Luxembourg, Bucarest and Augsburg, leaving me a Luxembourgish-Romanian hybrid with an identity crisis. Each place left a mark – some subtle, some more like a permanent bruise – and they still haunt my work in ways  I’m only half aware of. 

2. What is your first memory connected to the art world ?

I’ve been drawing since I could hold a pencil – probably before I should’ve been trusted with one.  One of my earliest memories of ‘art’ is when I turned my bedroom walls into a chaotic Disney mural. Before I even started school, I’d already mastered the fine art of vandalism. But hey, that was my first taste of the art world.

3. Have you always worked in the art/design field ?

After finishing my architecture studies, I spent a few years trying to convince myself I enjoyed being an architect. By 2021, I realised the only thing I was building was my own frustration, so I  jumped ship and got my hands dirty in ceramics in 2022. At least now, when things fall apart, I can call it art.

4. What led you to the design creation ?

After several years in architecture, I realised that the rigidity of the job was stifling my creativity. I  longed for something different – more hands-on and fulfilling, where I could have control over the final product. This led me to ceramics, which, in a way, is like architecture on a smaller scale,  allowing me to express my creativity in a tangible form.

5. How would you describe your creative process and it influences ?

My creative process is basically wandering through the city like a lost tourist, soaking in  architectural details and watching light and shadow fight it out on façades. I get inspired by the twisted branches of trees and the odd shapes that pop up when I’m least expecting them. I like to take a passive approach—letting ideas find me, rather than chasing them down. So, while I’m out there pretending to be productive, my designs somehow decide to show up. Eventually. 

6. Could you describe a typical day of your work ?

My typical day begins with the thrilling adventure of answering emails—think of it as my warm-up exercise before diving into the real fun. Once that’s done, I dive into my work, taking plenty of breaks, of course. You know, just enough time to stretch my back, contemplate the existential crises of humanity, or endlessly scroll through social media. It’s all about balancing hard work with a healthy dose of… well, absolute procrastination.

7. Why did you choose the specific materials you work with ?

I chose to work with clay because it’s a natural material that offers a unique combination of ease and difficulty, depending on how you approach it. I feel familiar with its properties, but it constantly presents challenges when I push its limits. This dynamic keeps me engaged and allows for a deeper exploration of my creativity.

8. What are the technical particularities of your creations ?

My pieces centre around light design, characterised by organic shapes that are both complex and  minimalistic. This balance allows an interplay of light, shadow and texture in each piece. I employ hand-building techniques to achieve intricate forms while maintaining a sense of simplicity. The meticulous attention to texture amplifies the interplay, enabling light to engage dynamically with the surfaces.

9. What advices could you give to beginning artists who would like to create sculptural design works ?

I’m not sure I’m qualified to give advice on this—or anything else, really—but if you’re curious for my wisdom, here it is: Go ahead and experiment freely with your ideas and techniques, but remember to keep your work simple and clear.

10. If your works had to belong to a design movement, in which one would you define it ?

The first lamps I created had clear influences from the Space Age style, but looking at my body of work as a whole, I’d place it within Modern Art or Modernism. That said, my style continues to evolve, so who knows where it will lead in the future. 

11. What designers and artists have influenced you ?

There are so many designers and artists who have influenced me, and I’m sure I’m forgetting some,  but a few that come to mind are Valentine Schlegel, Jean Arp, Henri Matisse, Alvar Aalto, Richard  Serra, and many more. Each of them has left a unique mark on how I approach form, Texture and space.

12. What contemporary designers do you appreciate ?

The contemporary designer who immediately comes to mind is Dieter Rams. His approach to design, particularly his emphasis on simplicity and functionality, has had a profound impact on me.  While there are many other designers whose work I admire, Dieter Rams stands out as a significant influence, especially in terms of his philosophy on creating timeless, thoughtful design. 

13. What contemporary artists (in any kind of art) have you been inspired by ?

A figure that comes to mind is Axel Vervoordt. His approach to design and art, blending minimalism with deep sense of history and timelessness, resonates with my own work. I admire how he creates spaces and objects that have a sense of serenity and balance, often using natural materials and embracing imperfection. His philosophy of “Wabi-sabi” – finding beauty in the imperfect and transient – reflects my own interest in organic forms and textures. Vervoordt’s ability to create environments that feel both modern and rooted in the past is something I strive for in my own creations. 

14. If you had to summarize your creations in one word or sentence, what would it be ?

If I had to summarise my creations in one word, it would be “Mediterranean”. I think this captures the essence of my pieces, reflecting the organic forms, textures, and warmth that are central to my work.

Proust Questionnaire with very short answers (one or a few words) :
(The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust. Other historical figures who have answered confession albums are Oscar Wilde, Karl Marx, Arthur Conan Doyle, Stéphane Mallarmé, Paul Cézanne…)