ceramics · Frankfurt
Franziska Kronmüller
Please share a bit about yourself and your background.
Hi, I’m Franzi. I’m currently living in Frankfurt and primarily working with ceramics. I studied painting, illustration, and a bit of textile design at various art schools in Germany and Belgium. While in Belgium, I explored a unique blend of painting, illustration, and technical design, which eventually led me to ceramics. I began creating ceramics, particularly tableware, but never showcased them during art school. After my studies, I went to Copenhagen for an internship with a Danish ceramicist who specialised in delicate tableware and large, unique vessels. He taught me a great deal about ceramics, and when I returned to Germany, I used that knowledge to continue developing my own tableware. Now, I have a small studio near Frankfurt where I keep creating ceramic pieces.
What was the early motivation to express your creativity through ceramics?
It actually started with my mum, who’s a programmer by profession but attended evening ceramics classes for nearly 20 years. When I was studying art, she had made a number of large vases but wasn’t sure how to paint or glaze them. So I began painting her ceramics, and I loved the result of that collaboration. Eventually, I felt drawn to learn how to make my own ceramic pieces, so I took classes in art school and weekend throwing workshops. That’s where I discovered a love for the hands-on process of throwing. From there, I applied for internships and was accepted at a one-woman studio in Bavaria, where she patiently helped me continue to develop my throwing skills.
We know you work across various mediums, like painting and illustration. Could you share how your love for these forms of expression developed?
My journey began with painting and drawing, which have always been at the core of my artistic practice. I studied illustration for nearly 10 years, so drawing became a natural and essential part of my work. When I later explored ceramics, it felt like a new canvas for my drawings—a different surface to express my ideas. Initially, I focused more on ceramics, but I soon realised how much I missed drawing. I need that process to develop ideas and visualise how to paint my ceramic pieces. Drawing is always the starting point for me, whether it’s on paper, canvas, or ceramics. Sometimes, I work on large-scale paintings, but it all begins with a drawing. Finding my style in ceramics came naturally, probably because of my extensive background in painting and drawing.
Can you take us through your process? Do you have a favourite part of the creation process?
I start with throwing, usually working on a few pieces at once. The next day, I trim them and begin painting (though the timing can depend on the technique I’m using or the weather—if they’re dry enough or need a little longer on the shelves). Once they’re bone dry, they go through the first firing, then get glazed, and sometimes I’ll add final touches with a crayon. After that, they go back into the kiln for the glaze firing, and finally, it’s just unpacking and a bit of grinding left. What I enjoy most is definitely throwing and painting. I’m lucky to have a studio with a large, wild garden, so I often move outside to paint in the summer light, —it’s something I really love.
When it comes to the tactile aspect of your work and its connection with your body, how does the hands-on nature impact your overall happiness and well-being?
I really like the hands-on aspect of working with ceramics, and I’d say that's one of the reasons I fell in love with it. I also enjoy seeing the progress of what I've made in a day or week—opening the kiln after a glaze firing is always exciting and possibly the best part. However, working with your body full-time can be quite demanding, especially as a ceramicist. Lifting heavy materials and sitting in awkward positions while throwing can take a toll. Currently, I've injured my wrists from overworking and have had to take a break for almost two months. So, while working with your body can be very fulfilling, it can also be demanding.
We're aware that collaboration plays a significant role in your practice. Could you discuss the importance of these partnerships to you and how they contribute to the collective support and development within your creative community?
I am part of a small ceramics collective consisting of eight different ceramicists working in and around Frankfurt. It's called Keramik Kiosk Kollektiv, and we organise small markets and events while supporting each other as much as possible. However, we each have our own studios and individual labels. For me, this group was a game changer, as it provided a platform I wouldn't have had if I had continued on my own. Being part of the collective has also created a sense of belonging and given me friends who face similar situations and issues, whom I can ask for help or a second opinion. This is one aspect I enjoy, but I also like working with other friends and artists. I really loved a collaboration I did with a friend who is into hand-dyed fabrics. She discovered an old dyeing technique that allowed us to draw directly on the fabric and asked me to come to her studio to paint some of her textiles. In the end, we made cushions out of them. Sometimes, I also collaborate with other artists who decorate my ceramics, like I did with a tattoo artist or a good friend who is into drawing and cooking—she created some beautiful drawings for a set of plates.
Where do you think the biggest potential lies for preserving important local crafts in the contemporary context?
That's a hard question, and I don’t have all the answers, but I do feel there’s a growing awareness around local products and craftsmanship. People are beginning to see the unique value of handmade objects, which is amazing. However, that appreciation also creates a sense of exclusivity; handcrafted pieces often come at a higher price, making them accessible to only a small group of people with the means to pay. This feels like a downside since the beauty and value of handmade work are things I wish everyone could enjoy. Preserving local craft techniques is important to me because so much has already disappeared, and some traditional skills may fade if we don’t actively pass them on. Personally, I sit somewhere between the worlds of fine art and functional design. For instance, making a ceramic cup feels like creating a small piece of art—a piece that’s still somewhat affordable, even if it’s more expensive than something mass-produced. That’s the joy in crafting: you can keep learning, and there’s always something more to explore and master. It’s an endless journey of skill and discovery.
What upcoming projects are you excited about right now?
I’m really looking forward to collaborating with a small shop in Brussels for the winter season. They reached out after seeing my work and wanted to include my pieces in a pop-up they’re putting together with other artists and designers. They didn’t ask for anything specific, which I love—it gives me a chance to showcase my own style alongside the work of others, and I’m excited to see how it all comes together. This will also be my first time selling outside of Germany, so it feels like a big step. The shop plans to host workshops and feature products from various artists, creating a mix of different crafts and perspectives, which I think will be really inspiring. It’s a busy time, but I’m excited to see my work reaching new audiences in a different space.
Where and how can people engage more with your work?
People can engage with my work through my website and Instagram, where I regularly share updates: franziska-kronmueller.de, @franziskakronmuller Image [1, 2, 3, 4] by Moritz Schorpp, [6, 7, 8] by Tatiana Vodovenko, [9] by Studio Mirabellethe rest belong to Franzi.
