The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: How do you develop the forms or surfaces that are prevalent in your work?
Marian Draper: Developing my surfaces begins by looking at a variety of sources. I start by researching antique textiles and wallpaper. Surveying the motifs and patterns, I create my own interpretations of the decorative elements found
in these furnishings. Concentrating on the botanical aspects of the prints, I pick out elegant and graceful shapes that I can replicate. From there, I begin drawing these floral ideas until a fluid and cohesive pattern emerges. Additionally, I look
at objects in nature. A long-standing relationship with flowers and botanicals further feeds my surface studies in color, texture, and movement.
My forms are informed by my curiosities of complex geometries. Fascinated by proportion, volume, and scale, I create vessels that explore these elements. Drawn to elevated and generous works, I spend a great deal of time tinkering with intersection points—figuring
out how I can achieve intriguing compositions that test the structural integrity of the clay.
CM: What is the most challenging aspect of working in clay (either technically or in terms of building a career?
MD: For me, the most challenging aspect of working in clay is timing. Technically speaking, timing can make or break a cycle of work in my practice. If my timing is off while throwing, I may lose hours spent forming a vessel because of
something as simple as being too eager to take the next step. If my timing is off while trimming, I can easily warp a piece from the amount of pressure put on the clay. When it comes to my surfaces, if I don’t catch the timing just right, my
transfers will smudge or flake off. Each step of the process must be timed accordingly in order for a successful piece to be made.
Timing, however, doesn’t just apply to the technical aspects of clay. Building a career in clay is also all about timing. Whether it be meeting the right people, making connections, choosing the time of year to have a sale, or posting on social
media weekly, timing in a professional sense is crucial for finding success in the ceramics world. Timing is a constant challenge in clay and one that I navigate daily as a ceramic artist.
CM: What is the most valuable advice you’ve received as an artist?
MD: The most valuable piece of advice I have received as an artist is to have patience in your practice. As a young potter, I was eager to be successful. My goals for myself well exceeded the work I made at the time. An exceptional mentor
told me to have patience in my practice. He told me success would come if I worked hard, focused on my craft, and sharpened my skills. Gradually, I discovered that patience was everything. I needed to learn my material, explore my surface, dive into
history, and meet my clay community. Taking the time to investigate clay took the pressure of success off my shoulders. It allowed me to immerse myself in my art form and to create freely. As an artist, having patience in my practice has been truly
rewarding. It is exciting to see how far I have progressed simply by taking the time to learn and grow, as well as marvel at the path ahead.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
You have read of of your complimentary articles for the month.
For unlimited access to Ceramics Monthly premium content, subscribe right now for as low as $4.85/month.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Ceramics Monthly
The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: How do you develop the forms or surfaces that are prevalent in your work?
Marian Draper: Developing my surfaces begins by looking at a variety of sources. I start by researching antique textiles and wallpaper. Surveying the motifs and patterns, I create my own interpretations of the decorative elements found in these furnishings. Concentrating on the botanical aspects of the prints, I pick out elegant and graceful shapes that I can replicate. From there, I begin drawing these floral ideas until a fluid and cohesive pattern emerges. Additionally, I look at objects in nature. A long-standing relationship with flowers and botanicals further feeds my surface studies in color, texture, and movement.
My forms are informed by my curiosities of complex geometries. Fascinated by proportion, volume, and scale, I create vessels that explore these elements. Drawn to elevated and generous works, I spend a great deal of time tinkering with intersection points—figuring out how I can achieve intriguing compositions that test the structural integrity of the clay.
CM: What is the most challenging aspect of working in clay (either technically or in terms of building a career?
MD: For me, the most challenging aspect of working in clay is timing. Technically speaking, timing can make or break a cycle of work in my practice. If my timing is off while throwing, I may lose hours spent forming a vessel because of something as simple as being too eager to take the next step. If my timing is off while trimming, I can easily warp a piece from the amount of pressure put on the clay. When it comes to my surfaces, if I don’t catch the timing just right, my transfers will smudge or flake off. Each step of the process must be timed accordingly in order for a successful piece to be made.
Timing, however, doesn’t just apply to the technical aspects of clay. Building a career in clay is also all about timing. Whether it be meeting the right people, making connections, choosing the time of year to have a sale, or posting on social media weekly, timing in a professional sense is crucial for finding success in the ceramics world. Timing is a constant challenge in clay and one that I navigate daily as a ceramic artist.
CM: What is the most valuable advice you’ve received as an artist?
MD: The most valuable piece of advice I have received as an artist is to have patience in your practice. As a young potter, I was eager to be successful. My goals for myself well exceeded the work I made at the time. An exceptional mentor told me to have patience in my practice. He told me success would come if I worked hard, focused on my craft, and sharpened my skills. Gradually, I discovered that patience was everything. I needed to learn my material, explore my surface, dive into history, and meet my clay community. Taking the time to investigate clay took the pressure of success off my shoulders. It allowed me to immerse myself in my art form and to create freely. As an artist, having patience in my practice has been truly rewarding. It is exciting to see how far I have progressed simply by taking the time to learn and grow, as well as marvel at the path ahead.
Learn more at www.mariandraper.com.
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents