The subject of Johannes Nagel's work specifically is the improvised and provisional. The objects are finished in that the porcelain is painted (glazed) and fired. Most objects are somehow vessels, pots. What else are they? The attempt to confuse the connotations that technology and material provoke. At times constructive composing, at times willful destruction, sometimes vases, sometimes fragments or alienated object. Improvised are the handling of the material and the methods of creating volume and shape – sawed, dug out, stacked, found or painted on. The joints and fissures, the blots of colour and unfinished painting appear provisional as they point from the finished object to the instant of making. It is not the perfection of the ultimate expression that is intended but to verbalize a concept of the evolution of things. His objects, which are orientated towards traditional ideas of vessels but are also freely composed, examine the associations between form and idea. Using work techniques such as burrowing into sand to form negative figurations for casting, he successfully performs his work directly and manually, lending the process of searching a tangible presence.