Pratt, Darlene

@darleneprattstudios

Inspired by architecture, electron microscopy, insects, succulents, and sea creatures, Darlene weaves into her ceramic work the principles of design and engineering observable in both human-made and natural structures. Her organic forms are in a state of tension with the mechanical textures stamped into the clay and the colours that lay beneath and peek around the edges of the lichen glaze she often uses. Darlene’s work feels familiar and alien, compelling intimate examination of the surfaces, visually and through touch. Animalian, yet reminiscent of plants, and of fossils, her pieces could be objects of the past, present, or future.

I work in the lower part of my home, which is on grade with a sliding glass door to a small outdoor garden. My studio is 12ft X 14ft or 168 square feet - not large but certainly better than nothing! I count myself fortunate to be able to work at home and move freely between my living and creative spaces.

Various cone 6 clays including Tucker's Dark Mid-Cal 5 and Mid White, as well as Pottery Supply House's 540i Black, Dark Granite, and 519 White. 

Cone 6

I cut shapes into firm cardboard boxes for slump molds to make voluminous forms that I can cut and attach to create simple or complex pieces.

I love the combination of texture pressed into the clay, colourful underglaze layed into the textural depressions and then overlayed with lichen glaze.

I make my own molds from firm cardboard boxes, and I make some of my own texture rollers using PVC pipe or firm cardboard rolls and a hot glue gun, or bisque-fired clay.

Esemplastic

I love that my studio is in my home. My home studio allows me to work in short spurts when my time is especially scarce, which helps me stay connected to the work and oversee its demands vis a vis drying time and attaching pieces at the optimal moment.

My surform blades! I will deliberately imagine projects that allow me to use my surform because I find the process very sensuous, hypnotic, and highly pleasurable, as well as precise and effective.

More space that will allow more efficient workflow, a selling space, and teaching space.

Art Forms In Nature by Ernst Haeckel, and Crossing Over: Where art and science meet by Stephen Jay Gould and Rosamond Wolff Purcell

I reclaim all my clay and submit entries, the prizes for which can be materials and tools from our local ceramic suppliers.

By looking closely at natural features such as flowers, rock formations, and insects. I get very excited about architectural structures, figuring out how they were built and gaining insight into the creative minds behind them.

I transport greenware across town using copious plastic bags as the cushioning medium in cardboard or plastic containers. Ideally, I don't allow the work to dry completely before transporting.

In terms of technical challenges, I am thinking about how to make larger and larger pieces (architectural) within the limitations of the kiln in which I fire. I am thinking modularly to achieve the ideas I have in mind.

My first piece was a handbuilt, straight-sided mug with a carved triangle and a circle along with this sentence, "Ceci ce n'est pas une triangle, ni est elle une cercle", referencing Rene Magritte's famous painting Ceci n'est pas une pipe.

I would have the ability to stop pieces from ever breaking because the fear of their fragility and ephemerality keeps people from using them, and therefore enjoying them, to their fullest potential.

Innovative construction techniques, interesting tools to facilitate complex forms.

In 2020, after a 15-year hiatus from working with clay, I entered a creative mentorship with Lesley McInally whose rich mono-printed surfaces I admire. She helped me find a new voice in texture and sculptural form.

Lord Echo, Khruangbin, Maribou State, The XX, Aurora, and any House music

Art creation helps me explore, learn about, and make sense of the world, as well as to understand who I am in the vastness of the universe.

I admire the sculptural work of Louise Bourgeois, and saw one of her "Mother" pieces at the Bilbao Guggenheim in 2016. Her work is powerful and technically impressive.

It isn't necessary to have all the latest and fanciest tools to create good work.

I would make ceramics more resilient to concussive force.