The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
Ceramics Monthly: Who is your ideal audience?
Sarah Conti: My work focuses on the parallels and interconnectivity of environmental and social issues. I strive to explore the intersection of these two issues with audiences who may not have considered their entanglement. Examples of
factors that are both environmentally and socially consequential can be seen all over the world, such as the way we allocate land and resources, where factories are located, how and where we dispose of waste, and our response to disasters. I hope
viewers are able to reframe the way they see social and environmental issues from disconnected problems to pieces of a larger story that are inextricably linked.
CM: What is the most challenging aspect of working in clay?
SC: Clay is an incredible material that is full of potential but also has its limitations. The visual language of my sculptures has evolved greatly over the years as my understanding of clay has grown. For many years my work was highly
controlled, meticulously carved, and didn’t highlight the strengths and uniqueness of the material. These issues led to my work looking stiff and overworked. Over time, my practice has evolved to work with the material rather than against it.
Most of my sculpting process is using only my hands as a tool and working in tandem with the characteristics of clay to capture gesture. Figuring out how to sculpt the way that I do now has taken years of trial and error. All of the time spent learning
this material has been equal parts wonderful and frustrating.
CM: What role does color play in your work?
SC: I want my work to toe the line between beauty and unease. I aim to create beautiful, colorful pieces that draw people in to look more closely and then consider the darker undertones, leading them to question their role in the issues
I address. I have a continuous body of work discussing the differences in color and appearance between male and female birds. Much like important women in history, our knowledge of female birds is woefully understudied and usually framed in relation
to their male counterparts; which parallels our patriarchal society.
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: Who is your ideal audience?
Sarah Conti: My work focuses on the parallels and interconnectivity of environmental and social issues. I strive to explore the intersection of these two issues with audiences who may not have considered their entanglement. Examples of factors that are both environmentally and socially consequential can be seen all over the world, such as the way we allocate land and resources, where factories are located, how and where we dispose of waste, and our response to disasters. I hope viewers are able to reframe the way they see social and environmental issues from disconnected problems to pieces of a larger story that are inextricably linked.
CM: What is the most challenging aspect of working in clay?
SC: Clay is an incredible material that is full of potential but also has its limitations. The visual language of my sculptures has evolved greatly over the years as my understanding of clay has grown. For many years my work was highly controlled, meticulously carved, and didn’t highlight the strengths and uniqueness of the material. These issues led to my work looking stiff and overworked. Over time, my practice has evolved to work with the material rather than against it. Most of my sculpting process is using only my hands as a tool and working in tandem with the characteristics of clay to capture gesture. Figuring out how to sculpt the way that I do now has taken years of trial and error. All of the time spent learning this material has been equal parts wonderful and frustrating.
CM: What role does color play in your work?
SC: I want my work to toe the line between beauty and unease. I aim to create beautiful, colorful pieces that draw people in to look more closely and then consider the darker undertones, leading them to question their role in the issues I address. I have a continuous body of work discussing the differences in color and appearance between male and female birds. Much like important women in history, our knowledge of female birds is woefully understudied and usually framed in relation to their male counterparts; which parallels our patriarchal society.
Learn more at www.sjconti.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