Many times, I am thinking: how is it possible a lifeless object to be able to affect my feelings? A contradiction that derives from the relation between non life and life, from a no feelings object to a full of feelings heart. I am not referring to "memory objects" that have a connection with our life through memories from our past. I am referring to a "tabula rasa" kind of objects, where no connection with this object, has happened before, so any of the feelings are based for sure at the chemistry that is created between two entities.
Day by day I observe myself and finally I know that whenever looking at an object I feel my serotonin raise, then for sure this lifeless object is an object that is created from a passionate with high perception, high creativity and sensitivity human. That's how a lifeless object emits life. That's how contradictions create harmony. And that's how i finally find my catharsis.
My inspiration for such an article and feelings, is the sculptural vessels of Julie, the artist and owner of Musette Ceramique. From her tiny Toronto studio, Julie builds sculptural, one-of-a-kind vessels. Handmade using coiling, slab and pinching techniques, this production process is intentional and slower but contributes to all kind of beautiful irregularities that make each piece unique.
I wanted so much to "read" the thoughts and feelings behind such beauties, so the only way to come closer to the mind behind, was to get in touch with Julie.
In case my own desire meets also yours, enjoy below Julie's answers at my 6 questions.
Evi Alexaki asks: Which are your drivers in creating ceramic objects?
Julie answers: I’m very inspired by imperfections, movement, textures, but it’s really the beauty of the raw materials, the clay, that inspires me the most. I try not to plan too much when I start building up a piece, and I let the clay guide me. It’s a material that’s very much alive. I like when things look at little bit skewed, a bit crooked, a bit rough or weathered. This looks natural and beautiful to me.
Evi Alexaki asks: The look and feel of your work, gives me the sense of the ‘out of control but controlled’ objects. Do you create according to a specific design or is it mostly an abstract expression?
Julie answers: When I start a new vessel, I know the general direction that I want the piece to take, but I don’t have a specific idea in mind. I start building and sculpting and I follow the clay’s natural movement. I have forms and curves that feel natural to me and that are present in many of my pieces, but they come about intuitively. As I work on a vessel or a sculpture, it changes and takes on its own shape. My finished product is often quite different than what I imagined. I like this process because it assures that each piece is truly one of a kind, each with its own irregularities and imperfections that make it unique.
Evi Alexaki asks: If I had to express the feelings I receive from your objects, those would be: Coziness, friendliness, simplicity, cuteness, positive vibes. Would you connect some of those characteristics with your personality?
Julie answers: I would say that I connect with the feeling of simplicity. I love simplicity and minimalism. I find that I gravitate towards very minimal objects, spaces and environments.
Evi Alexaki asks: Most of your creations are in pure white. Is there any meaning behind this color decision?
Julie answers: I think this comes back to the beauty I see in the material in its raw form. I don’t like using coloured glazes to cover up the clay – I want to show its natural colour and texture. I’m very drawn to the imperfect look of the white clay once it’s fired. I’ve been using a white stoneware and adding a coarse grog before starting to sculpt, which adds a lot of texture once the piece is finished. There’s something so beautiful about clay in its natural raw state like this, and it also puts emphasis on the subtle curves and shape of the vessel. I’ve also experimented with black and red clay bodies, but I somehow always come back to the white clay. I find it very soothing to work with.
Evi Alexaki asks: In your life and in connection to your work, have you experienced any
transitional periods? A transitional period could be a period when your mind,
your soul and finally your inspiration is out of sync. How do you handle such
periods? What are (if any) the changes you have experienced during such periods
that have reflected to your work?
Julie answers: I’ve definitely had periods where everything felt out of sync. Probably we’ve all experienced this collectively at some point over the last eighteen months of the pandemic. When the pandemic started and things began to shut down in my city, I felt very panicked and couldn’t find inspiration to work. I tried to push through this, and eventually found that building with clay helped calm me, almost like a meditation. My work actually helped me survive that transitional period and I was very thankful to be able to work in my home studio. A few months ago, I also had to deal with a big loss in my life and it had a tremendous impact on my work. I feel that it showed me that I can let go, explore, and not take things too seriously.
Evi Alexaki asks: What raises your serotonin, in everyday life?
Julie answers: I love being up and about early and walking or biking around the city. Drinking good, strong espresso and getting to enjoy time in the sun. Spending time with family and friends and my dog. Quiet nights in my studio with the windows open and crisp, end-of-summer air coming in.
