Emily, please tell us about a favourite piece...
Drift is a favourite of mine because it marks a move in my practice towards exploring new
sculptural and wall hanging works, whilst continuing my fascination with Nerikomi and
Agateware techniques.
How did it come about?
I have been creating vessels for a number of years that have a front plane, which flowers sit behind. I always saw this like a canvas to work with pattern and colour. As I focused more and more on this front plane, I decided I wanted them to be stand alone, and to give myself the freedom of creating something independent of function.
Was Drift inspired by something in particular?
I’d been investigating ideas around landscape, nature and our connection to it. In particular, the continuity in nature- the seasons, phases of the moon, and alongside this, how our inner world constantly shifts too. Drift, built of detailed layers, and with a sense of movement, explores this connection.
What approach did you take to making it?
For these pieces, I start by creating several different slabs of clay, including different colours and patterns within the clay body. From there, I’ll cut, rip and layer the pieces, sometimes adding more colours, and mixing different colours as I go along. Each piece is unique, and my process often develops as I’m making, as I get new ideas of ways to apply and work with the clay.
How have other people responded to it?
I’ve had such a positive response to these works. I’ll often receive questions about the
process as people ask if they’re painted. I love when it’s not clear how pieces are made, and that they invite you to look closer. I’m also always happy when I’m chatting about process!