There is such a wonderous quality to the world of ceramics. A shapeless lump is carved out from the earth, molded into a new form, before being sent into the fiery depths of the kiln to await its fate. If it comes out alive and in one piece, it will then be adorned with rich and colourful glazes and ultimately, it’s transformed into something exquisite. In a way it could be classed as our very own form of magic, witchcraft or alchemy, but for ceramic artist and gallery owner Clairy Laurence, this is simply another day in the studio.
Clairy Laurence is a Brisbane based Ceramic artist with over 35 years of experience in her chosen field. Born into a family of potters and artists, Clairy has been surrounded by creativity her whole life which has in turn, shaped her own creative vision. Describing her work as reflections and captured moments, Clairy explores themes of life, death, rebirth and change through her figurative sculptures.
In the early 90s, Clairy would open up her gallery Amfora which in 2013 she would move on from in order to pursue ceramics fulltime. It was during this period when she would develop her signature nymph-like girls and begin exploring what she has called ‘The Other Place’, an alternative reality where many of her one of a kind creations reside. In 2024, Clairy decided to open up Field Trip gallery located in the heart of Paddington where upcoming and established artist alike are given a place to showcase their creations. She currently works as a full time sculptor alongside teaching workshops and ceramic classes in her home studio.
I’m a bit of a nihilist—I don’t know if there’s much point to anything. Except helping each other, that is. I think that’s our purpose as people, and that’s where my greatest sense of fulfilment comes from.
Interview with Clairy Laurence
I understand that you grew up in a family of potters and artists, at what point did you know that you wanted to follow the family footsteps and pursue pottery?
I had been doing pottery for about 23 years before I realised that it’s what I wanted to do. I originally wanted to be a jeweller — I looked for work as an apprentice jeweller but there wasn’t anything going at the time. So I took up pottery. I always enjoyed pottery but would quite often hear feedback from those around me, such as “When are you going to get a real job?”. So I felt like I needed to get a real job. I’m easily led. It wasn’t until I went to university and studied Art Therapy that I realised I didn’t want a real job, I just wanted to be a potter.
You opened your first gallery Amfora back in the early 90s which you eventually moved on from and have since gone on to open Field Trip Gallery. What inspired you to open up a new gallery after so many years?
I opened up a new gallery because I was looking for somewhere to create installation work — I love the idea of being able to have control over a whole space. In previous years if you wanted to do that in Brisbane you could hire a gallery space and run the show however you wanted. But I guess most of those galleries closed after the pandemic. At the same time, I also wanted to expand my studio space. After looking for about a year, I thought maybe it wasn’t going to be possible with what’s currently on the rental market. Until this place in Paddington popped up, and it’s perfect.
The name Field Trip feels very reminiscent of childhood, bringing forth memories of school trips that often felt exciting and adventurous in nature. Is this the vibe you were going for when naming the gallery or did the name originate from elsewhere?
The building here has a mid-century vibe, which is the time when I was doing field trips as a kid. I guess the name came from somewhere nostalgic, yes. Going on a field trip is such an adventure at the age, I want the art we show here to be indicative of those same feelings of joy and wonder.
Also, we had a small group of people trying to pitch in on the name and ‘Field Trip’ was the only thing we could all agree on. Some mundane realism for you there.
You have created your own alternative reality titled ‘The Other Place’ in which you explore nymph-like girls and their companions. Can you tell us a bit more about ‘The Other Place’ and discuss how this alternative world has grown over the years?
How did you hear about the Other Place? I thought that existed only in my mind.
You know when you wake up from a really vivid dream and you can’t let go of the feeling, as if it was really happening just a moment ago, even though you know it wasn’t. That’s the Other Place.
Moths and other insects such as beetles and bees are a recurring theme throughout many of your pieces. Do these creatures link back to your exploration of life, death, change and rebirth?
You know they do. The insect is the transformer. The alchemist that transforms literal shit into compost. They break down matter. I also have a fascination with death and breaking down ‘matter’ as part of that process.
Working with ceramics and sculpting can often be a precarious art form, how do you tackle situations where a piece breaks or a sculpture doesn’t turn out how you’d expected?
I did used to have trouble throwing failed projects away. One day I decided to start throwing the mishaps over my back balcony as a type of catharsis. After some years, we noticed a ceramic graveyard forming itself down there. Lots of broken limbs and headless bodies, it was sort of like a new life for those broken pieces.
Eventually we had to say goodbye to the ceramics graveyard, to make room for my brother building a house on the land down there. I can’t say I’ve had much trouble with letting go since then.
Alongside your own practice, you also run workshops and ceramic classes, is teaching pottery something you have always been interested in pursuing?
I teach because it’s a great way to supplement my income. It’s not my favourite thing. Having said that, I do get a sense of accomplishment out of running the workshops. It’s almost like putting on a party, which I’ve always loved to do.
What is the most rewarding aspect of your work as an artist & gallery owner?
I really enjoy helping other artists put a body of work together and seeing it culminate in a show. I’m a bit of a nihilist — I don’t know if there’s much point to anything. Except helping each other, that is. I think that’s our purpose as people, and that’s where my greatest sense of fulfilment comes from.
Following on from my previous question, what is the most challenging aspect of your work?
I find it hard to pinpoint something I find tedious or less enjoyable about my work. Truthfully, I love creating art and everything that comes with it. I think the real challenge lies in balancing the innate desire to create with being a functioning member of society who can pay the bills.
Looking forward, what are your hopes and plans for the future for both yourself as an artist and Field Trip Gallery?
For myself as an artist, look I’d love to be recognised. But I know that’s not going to be easy. I understand that the kind of work I make doesn’t necessarily have that reach. For the gallery, we just want to be able to continue to show great art. I hope there is longevity here, as it’s already been the most exciting and nourishing experience so far.
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