Juliet Clapham
A look behind the scenes of ceramic artist Juliet Clapham’s practice.
Juliet Clapham at work in her studio at Strathnairn Arts
SAA: How would you describe your Arts Practice?
JC: My artistic pursuits range from the transient - chalk works on rock - to the lasting - pottery fired to 1300° Celsius. I am inspired by colour, form, texture, line and the interplay of light with all of these in both the natural and the created world. I try to interpret some of these observations in my pots, sculptures, prints and in my drawings and paintings.
SAA: Have you done any study? related to art or not?
JC: I have no formal art training. I have been fortunate to have met some gifted teachers and attended many workshops. I used to rue the fact that I had not attended art school but now feel comfortable, and a certain freedom, just operating on my instincts and hard won muscle memory.
SAA: What do you find most inspiring about your art space?
JC: The studio here at Strathnairn is a wonderful space – the light from the frosted windows allows for a diffused light which is very pleasant to work in during the day. The clear windows afford a wonderful view of the Brindabella Range and the paddocks to the West. From my space in the Potter's Wing it is a treat to observe the light of the sun and the moon as they move across the sky.
SAA: What does a studio day in your life look like?
JC: I like to attend the Strathnairn Studio at least five times per week. The pottery side of my practice involves wedging or preparing the clay, throwing the clay on the wheel or forming it into slabs and shapes, trimming/refining the piece and then controlling the drying process. Eventually there is the firing of the work in the kiln to bisq temperature (1000°Celcius) and then glaze firing if necessary (1222° Celsius).
I use the time in between some of these cycles to paint or make prints using my notebooks as a starting point. These works often take on a life of their own - evolving as I apply the colours and try different techniques. The works are often painted over as I am not looking to make lasting impressions with most of my work. The transience of this practice appeals to me greatly – it frees me up - to keep on – to have fun and not get too precious about it all.
I use a wide variety of materials and recycle as much as possible. I laugh to think that an Art Archaeologist in the future might x-ray one of my canvases to find the ‘pentimento’ reveals a school project painting of a platypus Olympic Games mascot - covered by a dark toned comment on corporate life - covered by a chocolate boxy floral arrangement!
I sometimes offer my paintings and prints for sale and I have accepted a few commissions but generally I paint for myself. I love to see the materials ‘come to life’. I know I will never get to ‘translate’ all of the things in my notebooks – but that’s OK.
SAA: How have you grown as an artist since starting out?
JC: My exploration of mid-fire clay bodies and Cone 6 (1222°) oxidation glazes in electric kilns has progressed since coming to Strathnairn in November 2021. I previously worked with high fired clay bodies and used reduction glazes in a gas kiln. I see the growth of an artist as a continuum.
SAA: What gets you up in the morning and drives you to be a working artist?
JC: I chose to work in administration for most of my life as it afforded me the opportunity to have a family and create a stable home environment for them. So my artistic endeavours have always been a part time thing until fairly recently.
Having said that my observations and ideas have never slowed and this is where my notebooks have served me so well. My notebooks have allowed me to sketch or make notes of things as they occurred to me in my everyday life and when reading technical and historical publications. I now have the benefit of these observations to spark my work every day.
SAA: How did you stay focused and original when starting out?
JC: I actually think there is very little that is truly original. I have come up with certain compositions and ideas that I think are original - only to later see them elsewhere in a slightly different manifestation… I put this down to there being so many people - all different but in so many ways the same.
I feel it is the doing that makes something special. I think people can slavishly copy something and this is still good for them as it is the actual doing that they are benefitting from there. I think that we are all artistic to a certain extent – it is usually just neglected in our education from about the age 7 onwards.
With my art work it is seeing the colours combine that drives me to keep on with it. With the making of my pottery it is often the simple utility of something that drives me. I can aspire to make a bowl that echoes the lines and form of the celadon wares from the Sung Dynasty but I know it will hold the Coco Pops just the same as the $2 bowl from the chain store!
So it is my focus and my drive to see the hand made object through to completion that makes the finished bowl useful as well as beautiful. I am a great believer in the beauty of everyday things.With sculptural works it is the elusive essence of things that I seek to echo in my work.
SAA: What are the biggest challenges facing working artists and how do you overcome them?
JC: I think that artists face the same challenges as most people but they have the added hunger to express themselves as well as the usual roof over the head/food on the table issues. All those necessary things take time in the waking day and it is this time constraint on the practice of art that often seems the greatest challenge.
When I was younger I chose not to work full time as an artist so I decided to keep a little ‘art’ time aside for myself every day. This might be a walk or a cup of tea looking out the window or just sitting alone somewhere– allowing myself a little time to think and daydream about things – and then jotting things down, sketching things and making notes. In this way I was able to satisfy that artistic hunger to a certain extent. I could carry on my working life with the idea that I could ‘come back’ to an idea, an inspiration, at a later time.
SAA: What do you read, watch, listen to, do to stay inspired?
JC: I read a lot – mostly texts and technical publications but I also love reading fiction. I love good movies and TV. I love walking in the town, in the bush and by the sea. I visit galleries and museums as much as possible – I find all of these activities inspiring.
SAA: Do you have any advice for young artists?
JC: I think that growth as an artist depends not only on the time you can spend with your work but also on your resolve to keep going – to keep exploring – whatever the medium. I have found keeping notebooks invaluable. I also think that making time for yourself everyday – however short – is a key part of keeping your artistic endeavour alive.
