Local, sculptural ceramicist Caroline Newman recently caught our eye with her solo exhibition held up in Guildford. The White Collection featured crisp, ornate vessels upon wooden bases (pictured below) amongst the pieces, which were just stunning. Caroline is a relative newcomer to the world of ceramics after a career change brought her to this point, and we’re glad it did! We have a chat with Caroline about this move and her work.
Official job title: Sculptural ceramicist
Summarise your career background and how you’ve come to where you are now:
Most of my working life has revolved around writing and teaching about the importance of creativity in the early years. It was tremendous fun and the aim was to impact on curricula from South Africa to Ireland. I had the privilege of collaborating with people from all over the world and hopefully changed the experience of involvement in the Arts, not only young children, but for their parents and teachers.
Arriving in Perth in 2006, I found myself wanting to explore another avenue. I explored a range of activities until I stumbled by chance upon clay. It took four years to find it and once I did I was captivated. I live, think and breathe clay morning, noon and night. It’s the fragility of the finished piece, the combination of hand forming and slip casting that literally has me excited by the possibilities that each day may bring. Having a superb mentor in Jenny Miller Nixon from Darlington as well as excellent support and encouragement from all at the Perth Studio Potters has seen two years just fly by. I don’t think I have ever learnt as much, nor been as hungry to learn more, as during this time.
You’ve just had your work exhibited in Guildford. Your exhibition, The White Collection, was just beautiful. Can you tell us a bit more about the inspiration and process behind getting this together?
The Chrysanthemum series of bud and small bowl vessels arose out of a fantastic trip that I had made to Kyoto, Japan. Having ordered tea on a sombre day I was enchanted to watch the Chrysanthemum bud absorb the hot water and begin to unfold in my teacup. It was the form of the unfolding that really captivated me. The vessels that make up this collection arose from that experience.
For the exhibition it was important to create a feeling of tranquility and harmony, and to allude to Japan through a delicate arrangement of origami cranes. Of course I wanted a flock of cranes and so after many patient hours, the 1000 crane mobile was born! This then floated above the mirrored central display. I wanted to use colour in a very limited way, in order to highlight the whiteness of the porcelain. The allusion to the inspirational tea was achieved by wall mounting bamboo each with a minimalist arrangement of chrysanthemum flowers. I think we achieved that, and certainly we had some wonderful comments about the way in which the exhibition was curated.
What’s next for Caroline Newman (or are you taking a well earned rest after all that!)?
Well my journey, so recently begun, has taken on a great momentum. Since winning the Perth Studio Potter’s biennial selective exhibition in October last year, I have had my first solo exhibition in Guildford and The White Collection will open in Margaret River in June. There is also a new exhibition planned for late September called Plum Blossom and Haiku, as well as the honour of being asked to contribute in August to the Hale School’s fine art exhibition. So really, what with a trip to Europe and the States, where there is growing interest from galleries, I think I’m going to be joyously busy for some time to come.
Describe your workspace:
My workspace is very harmonious, and I have to say, ordered. It looks out over roses which my husband grows for me and geraniums which I have adored since reading The Little White Horse by Elizabeth Goudge as a nine year old.
Each growing collection houses a shelf and a picture or object that underlines its creation.
What is the best thing about your job?
I love storytelling and every exploration allows me to give voice to another story.
Take us through a typical day of your work:
Upon entering the studio, the first few moments are spent listening: there is always an idea buzzing away at me and so I might begin to explore the triggers for that idea. For example, in examining old letters, of which I have many from all over the world, I begin to see how a vessel, particularly a bowl, might begin to create a story. My Heritage Lace collection is based upon letters between sisters. These range from the early days of colonisation through to the First World War.
I research quite a bit and my iPad is a constant companion.
I then revisit each collection; sometimes the way the light falls or the juxtaposition of something I have randomly put down can cause me to have a fresh look at something.
Then there is the practical aspect: the experiments with casting slips and other mediums, mold making and the refining and embellishment of a piece, but I always clear away at the end of the day. There is something very enjoyable about cleaning the brushes, tools and paraphernalia of working with clay and completing my visual diary which helps me to make sense of the myriad ideas that flutter around me.
What music do you listen to whilst you work?
Last month it was The Black Keys, Ray La Montagne, Gotye, Gotan Project and vintage Cuban music. But just now I am captivated by some old Armenian folk music and Féfé.
What has been your proudest achievement?
Switching careers when most people are looking to retire!
Which local artists/musicians/creatives do you admire?
Graham Hay’s work I just love. I am quite interested in the direction Jen Lee is taking with her abstracts based on WA, it’s the organic nature of the pieces that I respond to. In my field, the refinement of Sandra Black’s work.
Any advice for those trying to enter into the creative community in Perth?
It is an old adage, but you do really have to firmly believe in your ability and be able to communicate that effectively. Perth is a wonderful place for emerging artists, it’s vibrant and diverse. So my advice is to be clear about where you see yourself within your medium. Know your target audience and don’t compromise. Then shoot for the stars because every arrow lands somewhere.
What do you love about Perth?
I adored Perth from the moment I felt the softly scented breeze in Kings Park to the day I realised that everything is on your doorstep.
What does Perth need?
Perth could do with more events for under eighteens, and I would love to see more of the exhibitions from the East coast make their way into our galleries, museums and libraries. However perhaps this will change with the new entertainment centre.
Most frequented coffee spot?
Kings Park, Botanical Café or anywhere fronting the river, from South Perth to Matilda Bay.
Best live music venue?
Hard call, I guess it depends who is playing. There is the elegance of Sandalford to the accessibility of the Esplanade and that’s just the huge places, but generally the whole of Northbridge has some quirky little spots.
Favourite beach?
I do love Floreat, it is often completely deserted but I can grab a coffee and walk along that stretch of pristine sand and all is right with the world.
Rottnest or Margaret River?
I’m an artist so I have to say Margaret River, such a concentration of wonderful galleries and studios, and what’s not to love about the wineries.
Thanks Caroline!
You can keep up to date with Caroline’s work by checking her website.
All images are courtesy of Caroline Newman.
