Contrary to exhibitions of most other things, exhibitions of formed and fired clay leave the spectator with a certain feel­ing of something incomplete, of something not yet received, that is, of something which have been left hidden and occult for the vision of the observer. This ceramic oc­cult­ism or in­com­ple­te­ness is, I believe, not an in­ci­dental sensation, but rather an inherent quality of ceramics as such, a quality which makes ceramics to something very dif­fer­ent from paint­ing, sculp­tu­re and architecture, the three disciplines that have formed our concept of the fine arts.