2019 AWARD WINNER | Bath Spa University

Stacey Pamplin

BA Hons Contemporary Arts Practice | Bath Spa University

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1. Tell us about yourself, your work, and your career path so far.

I started my degree a little later than most. I have always painted alongside working and having a family, but the last three years of studying at Bath Spa University have opened the creative flood gates and I have enjoyed every minute! Throughout my degree my work has progressed into being primarily 3D with clay as the primary material. I make both functional and sculptural work. The theoretical line of my work stems from my interest the human/object relationship, specifically, how we emotionally attach ourselves to objects. I interrogate the role of an object, often through sketching directly from possessions belonging to myself or those close to me. These sketches become more visceral and abstract as I develop ideas before realising them in clay. In my most recent sculptural work, I combined porcelain with steel to reflect the psychological space of the transitional object. Working in this way has been challenging but rewarding. The dialogue between these materials and how they physically connect to each other added a layer of context to the work. This really interests me. The introduction of clay with other materials is something that I am excited to explore throughout my future as a ceramicist.

2. Describe your first encounter with clay?

I have an old memory. I’m sitting at a wheel at a young age, I hadn’t thrown the little cylinder that spun on the wheel in front of me but was playing with it. I was attempting to pull the walls of the pot upwards, pushing them towards the centre of the wheel in places and then towards the edge, only slightly as I was scared the little pot may collapse. I would push my finger into the side of the pot while it spun to create ridges. I remember being completely immersed in this activity. The result was a wonky little pot that sat on my mums window sill for years until it was eventually knocked off and broke.

3. Why did you choose ceramics?

I work primarily with clay for its tactility, material qualities, historical relationship with humans and the process of creation/destruction that the firing process provides. Its responsive nature and versatility provide a platform for limitless possibilities. Each clay body has its own qualities which I like to exploit through my work, leaving at least some of the clay body exposed in a finished piece. I enjoy the challenge that the ceramic process provides. It’s certainly not predictable (we have all been reminded of this when taking something out of the kiln) and has so many variables. I suppose I like to be challenged and kept on my toes, although I’m sure I wouldn’t be saying this when something hasn’t gone quite to plan in the studio. Its responsive nature and versatility provide a platform for limitless possibilities.

4. Where do you find inspiration? Places, people, objects, music...

I’m inspired by the stories that lie behind people’s possessions, the reasons why people become attached and hold onto things. Usually the objects hold memories for the individual, or maybe belonged to a loved one that has passed and it is kept as a reminder of that person. I have something I call my ‘treasure box’ which consists of old photos, scraps of paper, tickets, letters, keyrings, there’s even an old dog collar in there. I’ve collected these things since I was young and could tell you the story behind every object in there. It’s these narratives that transform an object from inert material into something significant and influential.

5. What are the tools of your trade that you can't do without?

I have a funny little tool which is like a pin with a small ball at the end. I don’t know what it’s called but it is great for marking the underside of my work with my initials. It’s the perfect size and doesn’t cause a lot of clay to scratch off or make a mess, it just indents it. I prefer to mark my work in this way over using a stamp. I feel like it is more personal, like I am signing off as you would any other work of art, or signing the piece over to the eventual owner. My functional work mostly involves throwing so my wheel is another essential in the studio.

6. What is a typical day in the studio like?

I will structure my day according to what I am making at the time. This is important for me as I always have a couple of projects running at a time. My day might include preliminary sketching and painting of ideas, hand building, throwing and glazing. I have a large board on the wall where I write down everything to be done for each project. Working on multiple projects gives me space for my thinking to develop on one piece while working on another. I actually think a lot clearer when I am making. Apart from that, it can be messy! I often get carried away in the moment and end up with a big clear up session at the end of the day.

7. What do the next 12 months have in store for you?

I’m really excited about next year! I have just set up a studio based in Bristol, where I am producing a lot of my functional ceramics at the moment (some of which are on exhibit and being used by Sticky Fingers Bakehaus in Hanham, Bristol). Next month I will be exhibiting some of my work in a collaborative graduate exhibition held at Oxo Tower Wharf London from 18th until 22nd July 2019, at the Bargehouse venue. I will be exhibiting alongside four other artists in an exhibition called Response, at the Heritage Courtyard Studios in Wells (16th until 23rd Oct 2019). In September this year I will begin an MA in ceramic design at Bath Spa University. I am really looking forward to seeing how my work progresses throughout this course and beyond.

8. What advice do you have for those currently studying ceramics in further education?

Sometimes the best work comes from accidents and mistakes so embrace them, you may come back to them later in your practice. Write everything down even the rubbish stuff in case you want to recreate it later, you will never remember exactly how you did it. Push the material to its limits, introduce it to other materials, experiment, enjoy!