2019 AWARD WINNER | University of Wolverhampton
Posted on - 18th July 2019
Chelsea Selkirk
BA Applied Arts | University of Wolverhampton
1. Tell us about yourself, your work, and your career path so far.
Before coming to study on the Applied Arts degree my creative background was in jewellery and silversmithing, I had not touched clay in about 9 years. Outside of education I am very interested in food and dining, this led me to really appreciate and admire functional ceramics. I joined the degree skipping first year, on account of my previous 3D arts training, so it was a steep learning curve and many hours spent behind the wheel over the past two years to build the essential skills I needed to create the objects I envisioned. I have always been passionate about completely handmade crafts, growing my own abilities as a maker as opposed to learning industrial processes.
2. Describe your first encounter with clay?
During school and college, I had very brief encounters with clay, maybe a few lessons in coil building, sculpting a large seed head and a human foot. However, I was not inspired to pick up the medium again until years later when my interest and admiration for others work had grown. In particular during 5 months I was in Japan I was exposed to viewing many great pieces of ceramic work.
3. Why did you choose ceramics?
I felt drawn to certain properties of ceramic work, the clear imprints of an object being handmade, glaze variations that can make each piece individual, tactility. I wanted to learn how to create objects with these properties myself.
4. Where do you find inspiration? Places, people, objects, music...
I was initially very inspired by traveling and dining in Japan, because it really contributed to setting me off on my ceramic journey. Food and dining, experienced first-hand and through photographs is a big inspiration for me. To inform my own work I also like to collect photographs of fine details, such a pattern or texture, that I am drawn to, and which can be imagined in glaze. I also do a lot of fast watercolour painting when planning form.
5. What are the tools of your trade that you can't do without?
Probably my most reached for recently are an old credit card and a paddle.
6. What is a typical day in the studio like?
I am a morning person so like to get any wheel work or hand-building done before the afternoon, usually trying to keep a rotation of pieces that just need a bit of finishing for my later task. Because I am using reduction fired glazes, I have been building up quite a large supply of bisque work before tightly packing a large gas kiln, spending one day reduction firing every two weeks.
7. What do the next 12 months have in store for you?
I will be traveling to Canada and joining Toronto Potters studio, where I plan to put in time improving my throwing abilities whilst creating work to sell, participating in seasonal fairs with the group.
8. What advice do you have for those currently studying ceramics in further education?
The most valuable thing I have taken from my time studying was being able to dedicate so much time to persist with throwing and hand building practice. Especially joining with just two years to complete my degree, every day was important to progress to where I wanted to be. Just don’t be put off by time constraints or perceived end goal, focus on building your own craftsmanship.
