@artist.katielemieux

artistkatielemieux

Through my sculptural practice I explore visual cues of body language—or kinesics—a means of communication that exists outside our use of the spoken word. I look to lure the viewer into subconsciously replicating the artworks before them, signaling empathetic responses or affective connections. By placing focus on the figure, I can use both gestural abstraction and literal renderings to visualize these connections. My interest in non-verbal communication subsequently explores the development of emotionally charged atmospheres, more specifically, the study of individualized postures, facial expressions and hand gestures as a vehicle for conversation. My position as a Personal Support Worker for youth with communicative differences works in tandem with my sculptural research. Studies say 70–93% of all communication is non verbal, thus I am fascinated by the intricacies of posture and the importance of facial expression as either intentional or subconscious dictation. For myself, the most communicative traits can be best translated through clay as I can physically explore the nuances of emotion by adding and subtracting material while I navigate the delicacies of individual characteristics. Our mental or emotional state often influences the overall appearance of our physical selves; this often holds many indicators as to what that emotional state may be. These audibly silent cues, loaded with information about our communication process as a species, are the crux in which I develop my work.

My in-home studio space is where the exhibition work happens. Nestled in the cozy basement of my house, I focus on the more conceptual side of my sculpting. Here I have a simple standing work table, a tool wall and some structured armatures for my solid process. This is where Halfsquat, my "big boy" kiln lives. My production studio lives separately outside my home. I keep the commercial and conceptual works apart so I have a clearer and more organized approach to both avenues. This is where my wheel and smaller kiln (Shortsquat) is kept.

Both mid- and high-fire stonewares and porcelains

Sculpturally I fire between cone 6 and cone 10
Commercially I fire to cone 6

Sculpture: Solid sculpting.
Commercial: Pinch, coil, throw

Sculpture: Matte surface with an oxide wash.
Commericial: Matte surface with sgraffito method

Yes! Ribs from gourds and bone; Sgraffito tools from dowels and music wire.

Peculiar

The constant reminders of the support I have in my life!

Music

1. Slab roller
2. More windows
3. Loft storage

They Call me Lioness, Science for Potters, and Last Train to London

Staying on top of reclaim and making my own tools

Hiking, gallery hopping, and people watching

Save or keep old guitar strings or music wire to make simple loop tools, cutting wire, sgraffito carvers and detailers

Establishing a work/play balance and finding consistency in both.

My first sculpture was a gooey, over-glazed seal, resting on top of some sort of log. It was deliciously terrible.

The ability to see heatwork! I guess a sort of x-ray vision that works with atmospheric firings. I would love that extra insight!

Keeping my ego/privilege in check . . . . I listen to other artists—how they speak and treat others—and how they navigate their social circles . . . . I learn from their results.

In the morning I listen to the news and a few podcasts. After lunch usually comes folk or indie playlists. Bon Iver and Foy Vance are frequently playing.

Creating art helps me process. Working with clay keeps me grounded.

One of my favorite contemporary artists is Cristina Cordova and her ability to create works with such evocative power and confidence. Her work is larger than life in many ways for me.

Make it again!

Stop turning my hands into dried raisins.