Kirsten Perry
Melbourne-based ceramic artist Kirsten Perry draws on authenticity when creating her biomorphic and almost other-worldly pieces.
Photography: Kirsten Perry
Photo - Kirsten Perry.
Photo - Kirsten Perry.
Hi Kirsten, what are you working on at the moment?
During this lockdown, I’ve been working on some ceramic pieces to update my lounge room and if I’m happy with them, I may start producing them. I’ve just finished an oil burner that needs firing, I’m working on a table lamp and I have my first prototype and a ceramic-based glass top coffee table is at the early concept development. I’m working my day job from my lounge room so I’ve had plenty of time to think about changes I would like to make.
Tell us about your journey to where you are now… was this always your calling?
I’ve always been creative. Art was always my favourite subject in school and I taught myself many crafts. At University I studied a few things and have BAs in Industrial Design and Fine Art (Gold & Silversmithing) and an Ad Dip of Multimedia. I taught myself ceramics after recovering from cancer as I wanted to work with a relatively non-toxic material. It just grew from there. Industrial Design gave me the skills to make all the slip cast moulds I use to make my current work.
Photo - Kirsten Perry.
In your work you’re attracted to flaws and vulnerabilities, why is this?
I’m not interested in achieving perfection as it is not a true reflection of where I’m at. I’m more into authenticity and self-acceptance which includes exposing my vulnerabilities and faults. I’m more attracted to someone if they can be vulnerable with me and me with them. I think vulnerabilities and flaws make someone and something more relatable and interesting.
“Many things fail, but failure sometimes takes me in a direction I would not otherwise have discovered. ”
Tell us about your design process?
I usually start with a few sketches and then start to carve out the shape from foam that was destined for landfill. I like to look at the foam shape for a few days before I do anything to make sure I’m happy with the form. Then I make a plaster mould of the shape, slip cast the shape, clean it up, bisque fire and then apply multiple glaze firings.
Photo - Kirsten Perry.
Kirsten Perry in her Melbourne studio. Photo - Courtesy of Kirsten Perry.
“I’m not interested in achieving perfection as it’s not a true reflection of where I’m at. I’m more into authenticity and self-acceptance, which includes exposing my vulnerabilities. ”
What do you love most about working as a ceramic artist?
I can make everything from start to finish and am not reliant on others to complete my process. This allows me to explore things what may be a bit risky and to take chances. Many things fail, but failure sometimes takes me in a direction I would not otherwise have discovered. Clay is so plastic it can be moulded into almost any form - I’m excited about pushing it as far as I can, especially in slip casting.
We love the natural, textured quality of your work – can you describe the importance of this element to you?
When I develop a piece, the elements I play with are colour, shape and texture. I want to highlight the natural qualities of the clay and the texture from the foam moulds, so I choose to downplay colour. Once you see the works in real life, the texture gives them a highly tactile quality. I’d like to think my work is understated allowing the subtleties to slowly arise to the surface the more you look.
What’s a typical day in your studio look like for you?
I like to start with walking my dog Funf, a bit of yoga and meditation, then straight into the studio. Exercise helps with my creativity. I usually have a few things on the go at once and think about the priority when I start the day. ‘What would take the longest to dry? What is my next firing? Do I have any orders? Do I have time to explore new ideas?’ So maybe I will start with pouring a few slip cast moulds, some glazing and making a new mould. Funf reminds me of her afternoon walk quite abruptly so that’s my wind down, unless in Summer when the temperature and light allows for more studio time after dinner.
Photo - Kirsten Perry.