Leevke Succow
Leevke Succow, born in Berlin, Germany, focuses on ceramic sculpture and alternative photographic painting. In her practice, she explores themes of transformation, spirituality, and the quiet beauty of impermanence by setting things in motion and subsequently letting go, allowing the process to unfold by itself.
Her ceramics, often mixed media, combine clay with elements like screen printing or metal and turn abstract feelings into tactile, sculptural objects. In her photographic works, Succow often alters images through hand processes or lets them be shaped by natural forces like rust, patina, or time itself.
Drawn to the unseen, the fragile, and the otherworldly, she uses the language of organic textures and natural decay to reflect on the impermanent nature of existence and the hidden forces that shape us. Psychology and dreams are recurring themes in her work, acting as gateways into inner landscapes where reality blurs into myth. Succow’s practice embraces imperfection as a way of letting go, inviting transformation and connection through the unpredictable and the unknown.
Since 2021, she has been studying sculpture at the Weißensee Academy of Art Berlin.
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In her glaze experiments, Leevke collected rocks from Egypt, ground them into pigment, and combined them with other materials to create natural glazes. The idea of embedding a place into a piece deeply resonates with her. Glaze making, with its endless variables, feels like its own form of alchemy—one she’s exploring step by step.
She’s drawn to natural patterns, erosion, and transformation—especially how materials like copper shift through oxidation. Much of her recent process has involved testing different ways to alter metal surfaces and explore their organic change.
Leevke also manifests her recurring themes in her music which can be listened to on Spotify and Soundcloud.
Artist interview:
How would you describe your artistic practice?
My Inspiration often emerges from being in Nature. By observing the quiet complexity of rocks, corals, seed capsules or the light reflection of water. These natural forms carry a language of their own, and I am trying to grasp how this universe is built and functions.
But just as much comes from within. Inner archetypes, symbols from dreams, or psychological concepts found in myth often surface and take form through my work.
In the studio, especially when working with clay, the process is intuitive. Rather than forcing a fixed idea, I try to listen - letting the material guide me. That’s when flow takes over and time dissolves.
What concepts appear consistently in your practice?
"There is no light without shadow, and no wholeness without imperfection." — Carl Jung
A lot of my work explores cycles - life and death, transformation and the unconscious. I’m drawn to the beauty in what’s worn, cracked, or eroded. The Japanese concept of wabi sabi plays a big role in that - embracing mistakes, brokenness - imperfection as something essential and beautiful.
I’ve always felt connected to the otherworldly, and I think that finds its way into many of my pieces.
What techniques or materials do you frequently use?
In recent years, my focus has been on ceramic sculpture and the endless possibilities of glaze. These days, the rhythm of my practice flows between ceramics and photography—two mediums that feel very important to me. I'm gradually finding ways to merge them, currently by experimenting with image transfers on ceramic tiles.
Photography has been with me since childhood. There’s something magical about capturing light, movement, or stretching time through long exposures to create soft, dreamlike images. Alongside this, I’ve been exploring ways to physically transform photographs - through cyanotypes, chemigrams, or by intervening directly on the film material.
Lately, metal has become a new terrain of experimentation. Copper and steel surfaces are oxidized, etched, and weathered, allowing photographic images to emerge through decay and reaction.
Leevke Succow