How would you describe what you do?
I’m an artist and designer, working predominantly in porcelain. My collection includes sculptural works, pendant lighting and functional ware.
I have been drawn to explore line, repetition, tactility and light in my work for as long as I have been making things with my hands. Through this, I’m inspired to make work that evokes intrigue, touch and curiosity. I find the process of creating such pieces to be a meditative and grounding practice.
How did you get started in art/design?
I feel fortunate and grateful to have always been encouraged to pursue my childhood interest of making things. I’m not sure I would be doing what I do now had it not been made accessible to me at a formative age.
At 18 I went to the Art School at the Colchester Institute to complete a Foundation Art Diploma, which lead on to a Degree in Contemporary Crafts at Falmouth University. I never really got on with clay at that time, instead enjoyed the process of mould-making for kiln-formed glass. I quickly realised that I would never have this opportunity again, so wanted to involve myself in the most process-led discipline I could. Importantly, I feel it was at Falmouth I was able to explore my creative language and the hook in what I make. This is still as engaging to me 15 years later.
After graduating, I picked up cast ceramics with my mould-making skills, which seemed more affordable and accessible. I wish the Makerspace had existed back then because I would have been all over it! I’ve been working in clay ever since for over 15 years.
What makes your work and/or process unique?
I tend to think more in plaster when I make. I am a mould maker so find the challenge of complex, multiple part moulds satisfying. This approach really opens a variety of processes and ways of making and problem solving to cast what you want in fine porcelain.
The models I use to make my moulds are eclectic and varied, from designed laser-cut models to hardened card and paper maquette’s, turned plaster forms and hand-sculpted in clay. I work in a modular way, joining cast pieces together, casting in multiple pigmented layers, carving and eroding, always driven to create linear and intriguing pieces. It’s been 18 years in the making.
What tips would you give to someone who’s interested in starting what you do?
To find your creative hook. What it is that can inspire you to make again and again when the endless kilns of disappointment can put you off from trying. Making in clay is more about problem solving than anything else, and the creativity is always found in the doing.
Most of the things I make and sell now would have had several, very crude predecessors over a 10-year period. What keeps me making is the drive to always make something better with the challenges and perceived limitations of the materials and processes involved.
What made you feel like, "yes this is something I want in my life”?
I can only be thankful to my family for never discouraging creativity in my life so it has never not been available to me, which has somehow lead to a creative career as an artist and maker. It is amazing how many people believe they are not creative because someone at some point led them to believe they weren’t, I simply don’t believe it’s true.
When I realised at 18 that some people do make a living by creating things with their hands, I have had a quiet determination to make that happen for myself. There really is no other option for me.
If you have that dreaded creative block, where do you get your inspiration from?
I would say awareness is most of the battle. Recognising when things are forced or there isn’t an energy flowing into what you’re doing. Simply walking away from it is often the best thing you can do. If that’s physically away doing something else or getting on top of the endless more automatic studio jobs. When it’s off it’s just off and it’s OK, it’ll shift eventually, or maybe it won’t. It sort of has its life of its own. I don’t think there is ever much space where I am not thinking about the work I’m making, or how can I improve it, or problem solve around something that isn’t working. There’s always something to do to move the energy around.
Where do you want to see yourself in the future with this journey? Do you want this to be long term?
I’m certain this is something I will do for the rest of my life in some form or the other, maybe in clay or maybe not. I settled on the idea a while ago that time spent in a studio making things with my hands would be a good way to spend a life if I can make it happen. I’m doubtful there will be a time I suddenly stop making, and there certainly won’t be a day I retire!
Is there another artist/maker you admire?
At art school I was drawn to Bridget Riley and the Op Art scene of the 60’s, which inspired a lot of the designs of my work now. It speaks to this inherent fascination of line and repetition that just ticks a box in my head when I look at it. I love that it speaks to a more dormant aspect of my brain that just draws me in, there’s something quite animal about it that has little to do with ego and the thinking mind. It just feels good.
Are there any exciting events/projects/experiences soon?
My work seems to be getting accepted on to some of the leading ceramic shows in the country right now, like the Oxford Ceramics Fair in October and Ceramic Art London in Spring. This is something a few years ago I had dreamt would be quite lovely to do. I’m happy to go with it and see where it takes me.
My creative journey has really been about stepping into the opportunities that appear to present themselves to me, be that exhibitions, residencies or job offers. Even if the imposter is quite loud, the urge to just go with it always wins. Ultimately, it’s all expansion and just something that becomes part of the things that you can do. Excited and happy to see what’s going to come up on the horizon next, who knows?
Why is Colchester Makerspace important to you/your work?
I’m delighted to be part of something connected creatively in Colchester. I tend to work alone a lot, which I value immensely, but being able to connect with others in this community is equally invaluable.
I love to teach and encourage others to connect to their creative play and let go of their stories around creativity in my monthly hand-building class. Teaching a 6-week ceramics class to trainees from Level Best through the Makerspace earlier this year has been an absolute highlight. I adored it!
Harriet’s work will be on display and available to buy from 6th September at Patch in front of the Makerspace at Trinity Works.
Below is Harriet’s socials where you can see more of her pieces and contact her with any interest of purchasing!