“What I love most about ceramics is that it's like turning drawings into real, tangible things.”

We're meeting in Amsterdam Noord, your home turf. What was it like growing up here?

KB: “As a child I was always making something. I'd spend hours drawing and copying my older brother's creations, and later in high school, I designed my own diaries. I come from an artistic family: my mum was a kindergarten teacher, my dad a mime artist, and my grandmother a portrait silhouette artist. I spent a lot of time in theaters and museums—not the modern ones, more like the Rijksmuseum. I originally wanted to be a mime like my dad, but after several failed auditions, my brother, who was already studying at the Design Academy in Eindhoven, suggested I try art school. That's how I ended up auditioning for the Rietveld Academy.”

While at Rietveld: did you start working with ceramics immediately, or was it a longer process?

KB: “During my time at Rietveld, I had the opportunity to explore various art forms. I enjoyed each one of them, but I felt the need to specialize. I wanted to excel in one thing. I initially chose ceramics, thinking I might switch to fine arts or audiovisuals later. However, as I immersed myself in ceramics, I realized it was the perfect medium for my narratives. Today, I have such a deep understanding of ceramics that I can use it to effectively tell my stories.”

“Working with ceramics brings me joy because it turns simple materials into meaningful art.”

So that's where Koos Buster, the ceramic artist, was born. Just to confirm, Koos Buster is your real name, right?

KB: "Yes, I'm named after Koos, my father's best friend. They agreed at sixteen that if they had sons, they would name them after each other. My brother was born first and named Wout after another friend. Koos was disappointed, so my father promised that the next son would be named Koos. However, my father thought I looked more like a Buster when I was born, so everybody knows me as Buster.

It wasn't until I graduated from Rietveld that I decided to use Koos Buster as my artist name. My work has a personal quality, so working under my first two names felt fitting. 

I enjoy having two names because I can use them as characters in my own mind. When I'm alone in the studio, I have no one to brainstorm with, but this way, I can spark ideas with myself, sometimes even out loud. Koos is a bit more conservative, and Buster is a bit more daring. It's kind of a joke, but it works well because I can express both sides and have internal discussions or conversations. It's like saying, 'Yeah, you're right. Okay, let's go!' and it feels really good."

“Creativity has a lot to do with keeping a childlike sense of wonder and embracing naive playfulness…but it's also serious work.”

What is so appealing about ceramics?

KB: "What I love most about ceramics is that it's like turning drawings into real, tangible things. Making something from nothing is incredibly rewarding. It's about paying attention to the beauty of objects and giving them importance. Working with ceramics brings me joy because it turns simple materials into meaningful art. I love creating items that people can use and appreciate in their homes.

You graduated with a ceramic cleaning cart and have since turned every day, even mundane, objects like light switches and cigarette butts into sculptures. What fascinates you about these objects?

KB: “It all started with making clay versions of things that usually go unnoticed and putting them on a pedestal to give them some love. It was like saying, 'Hey, I'm glad you're here.' That was the beginning, and it grew from there. There's also a bit of nostalgia involved, wanting to keep things that might disappear. Turning these objects into sculptures gives them a lasting place.

It's also connected to my view on well-being and fairness. It bugs me how some people get more attention than others or are considered more important. I don't get that because everyone has a story to tell and one that is worth listening to. This inequality really bothers me, so I channel these feelings into objects. By focusing on overlooked items, I'm challenging what society considers worthy of attention and value.”

Can you tell us more about your creative process?

KB: “I draw inspiration from many different places. Walking around the city and noticing interesting objects also sparks new ideas for me. But I get especially fired up when I go to concerts. Watching performers who are genuinely passionate about their craft fills me with ideas. It's not that I want to replicate what they do, but their energy and creativity motivate me to create.”

So, no equivalent of writer's block, then?

KB: “Not really. When I don't know what to do, I start making some of my best-selling items, like the clay sockets and fire alarms, my non-limited editions. And I also have a long list of things I still want to make, so I can always return to that.”

Failure is always an option with any creative process, maybe even more so when working with delicate materials. How do you deal with frustrations like that?

KB: I've spent so many hours working with clay that fewer things break now. I've learned how the clay behaves, but sometimes things still go wrong, usually because I'm a bit careless with the material. The most important thing is drying the clay properly. Too much wind or leaving the door open too long can cause cracks. It's crucial to wedge the clay properly, removing air and ensuring the molecules are mixed well. 

But even with practice, things can still go wrong or break. But I'm not really too bothered by that. And when something breaks in a museum or gallery, I feel bad for the person who broke it, but the piece itself is insured, so I don't feel angry or frustrated about it."

You're very productive and have show after show lined up. Do you ever feel pressure to constantly produce new work?

KB: "Not really. I enjoy what I do and love experimenting. I aim to make each exhibition as good as or even better than the last. The key is to keep enjoying the process and not worry too much about external expectations.

I'm not insecure about my work, but sometimes my friends' comments can make me doubt myself. They'll say things like, ‘You should try something different,’ or 'Aren't you tired of doing the same thing?' And the answer is no! I'm having a blast exploring new things. I've been doing more installations lately, creating scenes with various objects instead of individual pieces. It's like a tableau, and I'm really enjoying it.

I've also been working with glass, and I'm making wooden tables for a museum in Arnhem, which is a new experience for me. So, I'm not doing the same thing at all. And even if I continue working with the same medium, repeating myself, it's unfair to dismiss my work like that. It's like telling a great cartoonist to make something other than a comic, or telling Dick Bruna that he should stop drawing lines and bunnies. It's weird and doesn't make any sense to me."

“It's not a hobby. It's my job. One that allows me to support my family, and I'm proud of that.”

“I didn't have a natural talent for sculpting or drawing precise sketches. However, I improved significantly through persistent practice and learning from my mistakes.”

You have two young kids, how has becoming a father affected your work?

KB: "Since becoming a father, my work has definitely changed. My priorities have shifted. Before, I spent much more time in the studio, experimenting with different techniques all day. But now that time is more limited.

I also decided to stop drinking because I wanted to use my time more efficiently. In the past, I could spend my free days relaxing and maybe drinking, but now I prefer to spend that time with my family and doing productive work. I now work four days a week, from 10 to 5, and during that time, I need to be focused and get my work done. This has taught me to work much more efficiently and be goal-oriented with my time.

As for creativity, I don't believe in the myth that you can only be creative under certain conditions. Inspiration often comes at the most unexpected moments. It's about being open to inspiration and being able to translate it into your own medium, in my case, clay. So, although I spend less time in the studio, my time there has become much more valuable and productive. And at home, I am truly present, which is essential."

What is your view on creativity?

KB: "Creativity has a lot to do with keeping a childlike sense of wonder and embracing naive playfulness. It's about letting things happen naturally. But it's also serious work.

Creativity is very broad—you can be a creative architect or even a creative banker. It's about being true to yourself in your work, and that's something I take very seriously. Some artists focus on profound concepts, while others, like me, thrive on spontaneity and play. But it's still work. I enjoy what I do but can't stand it when people say, 'Oh, you just get to play all day in the studio. That must be fun for you, right?' It's not a hobby. It's my job. One that allows me to support my family, and I'm proud of that. Although sometimes, I yearn for the freedom to create without pressure. Ideally, I would just sculpt and not worry about where it's going."

Do you believe you can learn to be creative, or is it something innate?

KB: "You can definitely learn to become more creative. I enjoy comparing it to Ronaldo and Messi. I don't like either of them, but Ronaldo might be less naturally gifted than Messi. Messi has a lot of raw talent and works hard, too, but not as hard as Ronaldo. Ronaldo has always been wholly dedicated, constantly practicing and improving. He has talent, but his success comes more from his relentless effort.

I see myself more like Ronaldo than Messi. I might have less natural talent than others, but I excel in other areas, like creative thinking. For instance, I didn't have a natural talent for sculpting or drawing precise sketches. However, I improved significantly through persistent practice and learning from my mistakes. I believe you can develop talent or creativity through persistence. And as for ceramics. Anyone can sculpt, but for some, it just takes longer than for others."

“I don't believe in the myth that you can only be creative under certain conditions. Inspiration often comes at the most unexpected moments. It's about being open to inspiration and being able to translate it into your own medium, in my case, clay.”