Sophie Nolan
Ceramic artist Sophie Nolan explores the aesthetic of the female form and its mysterious beauty. We step into her Northern Beaches studio to hear about her creative journey, her current exhibition at Micheal Reid Northern Beaches, and why days in the studio never actually feel like ‘work.’
Photography: Hande Renshaw
Sophie Nolan in her Northern Beaches studio in Sydney. Photo: Hande Renshaw
‘I begin with a sketch in my art book or sometimes any scrap bit of paper if I have a particular shape or idea in mind and quickly need to jot it down,’ says Sophie Nolan. Photo: Hande Renshaw
‘I’m drawn to sensual organic curves as they have a softness to them. They are more graceful and pliable, compared to the harshness of overly angled shapes and straight lines – the soft curves of my forms give them a feminine aesthetic.’ Photo: Hande Renshaw
H&F: Hi Sophie – what led you here and how has your journey evolved?
Sophie: After studying Visual Communication at University and enjoying a career as a graphic designer, I became enamoured with clay after a chance lesson from a friend. I was looking for more creative expression and freedom; creating to my own brief rather than the clients’ as per my graphic design business. Soon, what was once a pinch pot hobby blossomed into a full-time passion.
Do you have a disciplined studio routine and any rituals to help keep you focused?
I adore spending time in my studio, so it’s never a chore, but I do treat it like a job in the sense that I go to my studio to “work” each day. I think working for myself in graphic design for so many years has given me a disciplined studio routine. I’ve just replaced the creative medium of graphics to ceramics. I do struggle a little with keeping focussed on the business side. I would spend my whole time making, if I could _ I have a tendency to procrastinate when it comes to admin tasks.
As an artist, what’s the best lesson you’ve learnt along the way?
There are so many lessons I’ve learnt from being an artist. Lessons that can inspire growth. It’s a journey into self discovery and personal confidence. The best lesson I’ve learnt is to let go of perfectionism. Let go of the reins, relax and just create. When you stop trying so hard, the end result may just surprise you.
When did you first understand art as a form of expression?
From a young age I was enamoured with artists of all kinds; musicians, singers, painters. I admired their freedom of expression. I was quite a timid little girl, but through my creativity, I found a way to express my emotions, beliefs and character. I was far more bold and brave in my paintings, posters and now ceramics, than I was at face value.
What/who influences your work the most?
I’m influenced by many things. The celebration of the human form, focusing on the beauty of our unique imperfections, curves, nuances and individualism is a constant theme running through my work. I’m obsessed with interior design, so I love looking through design books, magazines and social media, waiting for anything to pop out and inspire me. Whether it be an artwork, a curvy piece of furniture or lighting. Sometimes it’s the most obtuse thing that can spark an idea.
Tell us about your process when working with clay…
I begin with a sketch in my art book or sometimes any scrap bit of paper if I have a particular shape or idea in mind and quickly need to jot it down. I might sketch around 10 to 20 shapes, then choose the best 2 or 3 to try to make. I try to make sure all of my shapes have a particular vibe or essence to them. Whether it be sensual, vulnerable, rebellious, excitable or bold.
I use stoneware clay. I wedge the clay to eliminate air pockets, either start as a pinch pot or roll out the base then slowly mould the desired form using slab building and coiling techniques, allowing the shape to emerge. The forms are then bisque fired, glazed, and fired again.
Sophie’s incredible organic vessels lined up in her studio space. Photo: Hande Renshaw
‘Sometimes it’s the most obtuse thing that can spark an idea.’ Photo: Hande Renshaw
‘I adore spending time in my studio, so it’s never a chore, but I do treat it like a job, in the sense that I go to my studio to “work” each day.’ Photo: Hande Renshaw
“The best lesson I’ve learnt is to let go of perfectionism. Let go of the reins, relax and just create. When you stop trying so hard, the end result may just surprise you. ”
The forms are bisque fired, glazed, and fired again. Photo: Hande Renshaw
‘It [ceramics] became a main focus, taking over my passion for graphic design, when I realised that it gave me more joy.’ Photo: Hande Renshaw
Why are so drawn to organic forms in your work?
I’m drawn to sensual organic curves as they have a softness to them. They are more graceful and pliable, compared to the harshness of overly angled shapes and straight lines. The soft curves of my forms give them a feminine aesthetic. Beyond the form itself, I seek to create a layer of curiosity, asking the viewer to see, relate and respond to.
Ceramics was a side line passion, which quickly became your main focus, do you remember the shift when you knew it was definitely something you wanted to pursue full-time?
It became a main focus, taking over my passion for graphic design when I realised that it gave me more joy. I still love graphic design, but after many years of bringing client’s visions to life, it was time to explore what it felt like to create from my own brief. I found myself trying to quickly finish my graphic design jobs, so that I could go back to making. I love the messiness and tactile quality of clay compared to sitting in front of a computer. At the same time, there started to be an interest in my work and I was asked to do my first exhibition at Saint Cloche gallery in Sydney, which sold out. That gave me the confidence to pursue it full-time.
What is a really good piece of advice you’ve been given?
Failures are learning opportunities – this helped me to stop being so disappointed and hard on myself when a piece didn’t work out. It allowed me to embrace the things I thought were failures, let go of all the judgement and just keep creating.
What colours and materials do you mostly love to work with?
My favourite type of clay is Special K clay. It has a log of grog so it holds large forms well. This allows me to create different irregular shapes often pushing the boundaries of gravity. The actual form is the main focus of my work, so I predominately use matte mono glaze colours, so as to not detract from the shape itself. White or black are my go to colour palette, however, I do love colour, so I enjoy exploring other colours from time to time. In my latest exhibition: ‘Nature’s Flow’ I have loved experimenting with some lovely golden, sandy and soft blue/green tones reminiscent of colours found in our Australian natural environment.
Tell me about your current exhibition at Micheal Reid Northern Beaches gallery…
I was recently lucky enough to be invited as an artist in residence at a place called Woolooma Glasshouse in the Upper Hunter region. It’s situated on top of a mountain ridge overlooking a picturesque valley. I spent 3 days mesmerised by the overwhelmingly beautiful show the mountain and valley put on for us. From the first morning misty light to the sunset glow of the sunset hours. I was able to sit and observe and sketch what I felt and saw. This body of work is inspired by this special experience. My organic shapes have intuitive and visible parallels between the curves of meandering rivers, boulders, tree trunks, branches and human trunks, torsos and limbs. Giving the curving trunks and twisting branches of the gum trees almost anthropomorphic qualities. In this body of work I seek to encourage a dialogue between the natural landscape and the female form. I hope my work will evoke the viewer’s own feeling of being in close relationship with our natural environment.
What’s coming up for you work-wise in the coming months?
I’ve started working on a new series of larger sculptural curvy pieces that are a little more colourful. Hopefully just in time for some show stopping summer table tops. Watch this space!
Visit ‘Nature’s Flow’ by Sophie Nolan
In gallery and online. Exhibition closes October 13th
Shop 2/358
Barrenjoey Road
Newport NSW 2106