Culture, Community and Clay: These Brisbane Ceramicists Are Going BAD
above CLAY SCHOOL, SUPPLIED below PHOTOS BY MACAMI
Next month, the Brisbane Art Design (BAD) Festival will see the city come alive with a month-long program of exhibitions, open studios, outdoor interventions, talks, tours, workshops and more, led by the Museum of Brisbane.
Taking place from Wednesday 10 May to Sunday 28 May and featuring more than 150 cultural events and exhibitions themed around ‘Culture. Community. Clay.’, the festival aims to shine a light on the best of Brisbane’s art and design.
“BAD invites audiences to step into the studios, galleries and workspaces and go behind the scenes of Brisbane’s creative industry to explore new ideas,” Museum of Brisbane acting CEO Cathy de Silva shares. “Museum of Brisbane is excited to present another massive program for BAD, which shows how our art and design sector is growing and thriving. I invite everyone to come out and explore our creative industry throughout May.”
BAD Festival’s flagship exhibition Clay: Collected Ceramics introduces this year’s theme with a keen focus on Brisbane’s ceramicists and five exclusively commissioned works. Ahead of the festival, we caught up with Bonnie Hislop, Steph Woods and Nicolette Johnson – three of the exhibiting ceramicists – to learn more about what going BAD means to them.
NICOLETTE JOHNSON
Why are you drawn to the world of ceramics?
Clay is a material that you touch, that transforms, that constantly surprises you. Clay can be heartbreaking and elating and ordinary and sublime and demanding and forgiving. I think it is a substance of contradictions and, in that way, maybe I relate to it… just a little bit.
What is your favourite piece you’ve ever created? Why?
This is an impossible question to answer! My work sometimes feels like an extra limb; I put so much of myself into everything I make (for better or worse – maybe I could tell you about my least favourite pieces!).
Clay can be heartbreaking and elating and ordinary and sublime and demanding and forgiving.
How does being BAD (bold, artistic and daring) show up in your practice?
I think this has to do with my connection to my work again. I have very strong relationships with the things I make. Even before I make them, they are in my head for weeks or months or years. I am physically touching them for hours and hours, handling them with so much care, and I can’t help but be emotionally invested in them too. They sit in my studio keeping me company while they wait to be fired, and I enjoy their presence in my life while they are around. Sharing them with the world after all that can feel incredibly risky. It really feels like baring your soul. And then if I’m lucky, I get to send them away. I would call that bold and daring, for sure.
BONNIE HISLOP
Why are you drawn to the world of ceramics?
The biggest appeal in choosing to focus on ceramics as a medium was definitely the functional element. I grew up constantly drawing as a child, which developed into an illustration practice in my late teens and early twenties. I started to want more adventure for the pieces I was creating – for these works to be a part of people’s lives rather than sitting on display on a wall, waiting to be glanced at. Clay felt like the perfect vehicle to achieve this. I started out making planter pots, then plateware and mugs. Even my latest large-scale works are technically functional. This just seems to be what my hands are most satisfied making. They are crafted by hand and very much intended to then be held as well as admired.
I started to want more adventure for the pieces I was creating – for these works to be a part of people’s lives rather than sitting on display on a wall, waiting to be glanced at.
What is your favourite piece you’ve ever created? Why?
This is a very non-committal answer but my favourite piece tends to be the one that I’ve most recently completed – a new idea or technique or lesson is unlocked with each one.
How does being BAD (bold, artistic and daring) show up in your practice?
I love bold, bright colours and embracing a certain amount of chaos in my work as well as using the surface of the pieces as a canvas to convey conversations and observations around the human experience.
WANT MORE ART AND DESIGN? RIGHT THIS WAY!
STEPH WOODS
Why are you drawn to the world of ceramics?
I’m drawn to the world of ceramics because I feel the materials have limitless potential and provide endless teachings. Clay is very forgiving in its malleable state, allowing the artist to play without the fear of making a mistake. I also love the challenge of making something new with the material, as this craft has been around for centuries; it’s a rather difficult feat.
What is your favourite piece you’ve ever created? Why?
Probably my very first Purple Butter Vase. This piece was created at a pivotal time as it was the first work I made where I truly felt I was onto something great. The Butter Vase got its name from its textural appearance, deceivingly appearing malleable, similar to if someone were to prod and scrape at butter. The piece led to my ongoing Butter series that I am probably most known for and quite proud of.
Being BAD is about leaning into your strengths and not being afraid of making something out of the ordinary.
How does being BAD (bold, artistic and daring) show up in your practice?
I think being BAD is about leaning into your strengths and not being afraid of making something out of the ordinary. When I create, I create for myself, which allows me to playfully challenge my skills without the fear of not pleasing others. My work is filled with bright colours and uber-textual surfaces that embrace the bold and usual, in an attempt to show a new side of ceramics and break the boundaries of ceramics in the modern day.
