Good 24 Hours, 2010
low-fire red earthenware
6.5” x 11” x 11”
'ode to louise' carnevale clay #pottery #collage
Too cool for school. The work of Anne of Carnevale Clay
I’m super excited; I was contacted by Anne of Carnevale Clay a little while ago, and was invited to participate in the The Ever-Expanding Blog Post. It’s a cool initiative where artisans from all over the world discuss their work, their process etc on their blogs. Not only is it an opportunity to get insight into the production of the beautiful work we see in our social media feeds, but we get to connect with great contemporary artists all over the world. Win. -_-
As for me, I have been a fan of Anne and her work for a little while now. Her carafes are so beautiful.
So, on with the show:
What am I working on?
Currently, I’m working on two main items- a series of geometric planters and some larger geometric decorative pieces. For these, I’m using slab templates and plaster-of-paris molds.
I’m partial to wheel thrown and coiled ceramic pieces, so this is fairly new terrain for me. I love the ease that the use of molds and templates has brought to my ceramic practice, though. When I’m tired and still want to work, I can pop some slip in and still produce work. I’m a mold snob though, so I prefer to make my own.
My love of planters developed when I was contacted to do a custom planter by an avid plant collector. She turned my attention to the beauty that was succulents and the idea of dressing your plants to make them a beautiful part of your décor. Not only did I start collecting succulents myself, but I started to create planters in earnest.
In addition, I love simple, functional items that can be used to add charm to your home. The right colours can also light up a room.
Both the geometric planters and the larger decorative pieces have a wabi-sabi feel to them. This comes naturally because while I respect the clean finish of modern art, I think there’s beauty in the unfinished look and feel. I’ve always been fascinated with peeling paint, moss and the tactility of tree bark. So my work leans on that side of things.
How does my work differ from others of it’s genre?
I think my work differs largely due to the surface design. My forms are pretty straight-forward; my surfaces, though, are pretty dynamic. I love layering glazes in order to create unpredictable effects. The patterns are exciting abstract landscapes of colour. The varying opacity of the glazes as well as the use of glossy against matte produces gorgeous effects.
I’m actually a painter as well and my love of colour is more apparent in my portrait work. I usually juxtapose realism against the abstract, building up the form using palette knife and watercolour effect. My work is always growing, so I’m positive that I’ll see improvements and changes along the way.
Why do I create what I do?
The arts have always been in our family. My grandfather was a musician; I saw my Mum drawing when I was growing up and our house was always filled with music. I guess it was natural to enjoy art.
I also love art because I love nature. The variety of design, pattern and colour in the flora and fauna around us is so inspiring. I even dream pattern and colour during the day, which I always find funny.
I have a love of material; the smell of paint, the feel of clay in my hands as I build forms. I wouldn’t want to do anything else.
How does my creative process work?
Hmmm, that’s good question. I wouldn’t really call it a process. It’s not very structured. At times I make quick sketches of the work that I’d like to do but honestly when I get an idea in my head of a form I’d like to create, I hit the ground running. If something is unsuccessful, I squash it and try again. I do like to experiment, especially in ceramic work. Sometimes I never know where a form is going until I’ve finished it. When you pinch a pot, it can go in so many different directions.
My choice of colour for each piece is based loosely on colour theory but nature plays a huge role here. I often use colour combos found in plants as inspiration. Sometimes I learn from trial and error. Those pieces are the ones that stay hidden in a corner in the ceramic graveyard of sorts.
I hope you’ve been inspired by this interview. To continue with the chain, I’ve contacted a couple of fellow artisans and will post links to their work shortly.