What was the inspiration behind your latest venture of Raw Clay Lab?

Ceramics has been a part of my core creative practice, along with spatial explorations in textiles, natural and everyday materials. I’ve always been interested in experimental art and approaching making and materials as matter and actions laden with cultural meaning. RAW clay LAB gave me the opportunity to focus on exploring these ideas and to engage with these processes.

 

RAW clay LAB was a chance to work with artists I have long admired such as Kath Fries whose PhD research into impermanence, touch and materiality was so inspiring to me. I also got to work with Mike Hall, from Scotland Island whose article on 'Dissonance and Decarbonisation' in ceramics informed the environmentally sustainable creative approach to RAW clay LAB. The project meant I got to meet and work with six amazing artists for the first time, all with very diverse practices:  Jayanto Tan, Helen Earl, Christina Frank, Michelle Perrett, Mike Hall and Kath Fries.

 

Community art, fostering community participation and connections through creativity has been a focus for me so it was great to build upon my background in arts public programs, education, arts administration and project coordination. 

What discoveries resulted from the Lab’s experimentation?

Mainly that there's so much more to explore through clay material thinking, and that we all only scratched the surface of possibilities! RAW clay thinking expands across so many fascinating concepts and creative media that there’s a lifetime of ideas that can be explored.  You can see RAW clay thinking in action by following RAW clay LAB. 

A process-based approach to creative research takes time, thinking and reflection.  

Discovering the potential of bioplastics to create ‘glazes’ on unfired clay was a revelation. There is a great appetite for participatory art experiences from the wider community. A beautiful sunshine filled weekend for RAW clay LAB Open definitely helped with large visitor numbers but in general there was great love for just pure sensory clay play from children and adults alike.

What is next for RAW clay LAB?

This project is but a small beginning that could be grown in so many directions eg larger national project, writing, inviting multidisciplinary artists to participate, building Raw Clay instagram community, environmental art projects and further RAW clay LAB exhibitions at other galleries.
 

Currently Helen Earl and I are writing an article for the Australian Ceramics Association Journal about RAW clay LAB  and the value of RAW clay thinking, materiality, ephemerality and experimentation in ceramic practice.

A registered catalogue of the project is being completed. All of the seven artists are busy developing and expanding upon new work and ideas explored through RAW clay LAB; entering creations in art prizes, participating in group exhibitions and seeking further professional development opportunities such as artist residencies or curating exhibitions.
 

To continue exploring RAW clay thinking and building creative networks throughout the art and design community in Australia and internationally via instagram @ -raw-clay-

What are some of the highlights and benefits you gained from collaborating with other artists/creatives?

So many! None of the artists in the group had worked together previously so it was a chance to expand everyone's networks, learn about different creative approaches, exchange collective knowledge and experience professional development together. 

Many of the artists are continuing to collaborate further eg Michelle Perrett and Christina Frank are developing a new collaborative installation work, Helen Earl and I are writing together, Jayanto Tan and I are both artists taking part in HIDDEN sculpture walk curated by Kath Fries. 

 

Having work professionally documented by photographer Greg Piper means all of the artists have high quality images they can use for websites, instagram and entry into art prizes. It makes a difference!

Gallery

Image courtesy Suzanne Davey.