Brooke Clunie
From her studio up high in the Hinterland in Byron Bay, Brooke Clunie works in a gentle rhythm, methodically creating her beautiful ceramics pieces.
Words & Photography: Hande Renshaw
Brooke Clunie in her Byron Bay studio. Photo: Hande Renshaw
‘I become so absorbed whilst throwing – my environment is on the periphery,’ says Brooke Clunie. Photo: Hande Renshaw
‘I am in time with the rhythm the wheel directing my pace and keeping me centred. It’s almost a dance with my fingers and I have clear intention of what it is I’m making – some would say it is meditative, but I tend to think it’s more of a concentration and flow.’ Photo: Hande Renshaw
A line up of bowls made with black clay - a new material Brooke Clunie is currently enjoying working with. Photo: Hande Renshaw
‘I’m surrounded by natural beauty, especially looking out from my studio to the farmland.’ Photo: Hande Renshaw
For ceramic artist Brooke Clunie, the passion to create started from a young age and it was while studying Middle Eastern and Classical Archaeology at Sydney university that she discovered that ceramics would be part of her creative journey.
After finishing her degree, Brooke set up a pottery studio in London with an old friend, and she hasn’t stopped since. ‘After a few years of micro studio life at the Camden Market, I returned to Australia and realised I would continue this crazy pottery adventure here,’ shares Brooke.
Today, the maker creates beautiful pieces concentrating on throwing with both stoneware and terracottas, from her studio in the Byron Bay Hinterland - Red Door Studio. In the idyllic location, surrounded by farmland, abundant birdsong and undulating greenery, she is able to hone in on her craft and also live a life that’s nurtures her well-being.
‘To maintain my practice and my work for this long I do you have to be in a space of beauty and light as this is an internal state. To make I fall into a focused zone,’ she says.
Brooke is a self-confessed creature of habit, starting each day methodically and with purpose, ‘There are so many steps involved with the making of tableware, I prefer not to do one big sitting of throwing. I mix my day up and it’s scheduled - I’m a disciplined soul.’
When she is behind the wheel, Brooke is in a rhythm, with the wheel directing her pace and keeping her in the moment.
‘It’s almost a dance with my fingers, I have a clear intention of what it is I’m making. Some would say it is meditative, but I tend to think it’s more of a concentration and flow.’
During the process, she will often ‘play games with how many lifts of the clay or how little water I use.’ Currently Brooke’s focus is on using minimising using tools and purely her hands to produce form, curve and line.
‘It calms me, even though it’s work and I’m concentrating on making specific pieces. If I am agitated or things are becoming too hectic, I will always jump on the wheel and throw a run of mugs – that usually reconnects me.’
‘I prefer to make tableware that can be held and used daily. The shape, line and the feel all play together in creating a piece that wants to be held – like a body!’ Photo: Hande Renshaw
“I gravitate towards functional pieces because of the repetition in production. It’s a rhythm and game almost – a cyclical calling that pulls me forward and draws me in to the motion.”
Brooke Clunie’s Byron Bay studio selves are filled with pieces in various forms of production. Photo: Hande Renshaw
‘Becoming a teacher of my craft has made me a better potter.’ Photo: Hande Renshaw
‘If I am agitated or things are becoming too hectic, I will always jump on the wheel and throw a run of mugs – that usually reconnects me.’ Photo: Hande Renshaw
Brooke Clunie's studio in the Byron Bay Hinterland, where she also teaches ceramic classes. Photo: Hande Renshaw
A line-up of ceramic pieces awaiting glazing in Brooke Clunie’s studio. Photo: Hande Renshaw
Every inch of Brooke Clunie's studio is filled with ceramics in all stages of progress. Photo: Hande Renshaw
Brooke leans mostly towards making functional tableware pieces that can be held and used daily. From mugs and plates to teapots and incense holders.
‘I gravitate towards functional pieces because of the repetition in production. It’s a rhythm and game almost – a cyclical calling that pulls me forward and draws me in to the motion. The shape, the line and the feel all play together in creating a piece that wants to be held… like a body!’
An extension of Brooke’s practice is to give back to her community – she holds Two Pot Sessions, giving learners a chance to immerse themselves in her practice and have some fun with clay.
‘It’s been a wonderful experience giving back to the public who have supported my profession, becoming a teacher of my craft has made me a better potter. It’s encouraged me to be more aware of what I’m actually doing on the wheel and being able to articulate that. Teaching a blind student was one of the most fulfilling moments.’
Brooke is currently working with a new type of clay: black clay, and seeing where this new material will take her practice. She is also assisting ignite studios at the Northern Rivers Community Gallery and setting up their pottery studio.
‘This is an exciting opportunity for me to perhaps engage with younger students with specific sessions - for those who would otherwise never have such an opportunity.’