August 13, 2020
Claudia Terstappen has been featured in a double-page spread within the Journal of Australian Ceramics, reflecting on how the ceramic medium has entered into her artistic vocabulary.
Terstappen discusses her fellowship at the Academy of Visual Arts at the Hong Kong Baptist University, describing how she “discovered that clay allowed me to translate my ideas directly into form, and as such, all my works are handbuilt. I love rich surfaces and bright colours. The vivid oranges and yellows in my work are achieved using earthenware glazes that I apply like thick monochrome paint to emphasise the characteristics of the form itself. Most of my glazes come from Spain. If I can’t realise an idea with ceramics due to the limitation of my kiln size or the reading of the material, I proceed to a different material or medium. There are strong conceptual connections between all my works, whether sculptural or lens-based with reference to photography.”
Commenting on the breadth of her 2019 solo show ‘form and memory’ at Dominik Mersch Gallery, Terstappen explains, “While my visual language is intensely shaped by the flora and fauna of Australia’s outback, I have also always loved living in large cities. I consider both environments important influences. Prior to Melbourne, I lived in Barcelona. The rich architectural features of Spain and Portugal – mouldings, friezes, architraves, rosettes, mosaics and the elaborate Azulejos that interlock geometric or floral motifs – are a great source of inspiration for my work.”
You can find out more on www.australianceramics.com
This article was published in Vol 59 No 1 of The Journal of Australian Ceramics, April 2020.
Permission has been given to make it available on this website.
© The Australian Ceramics Association 2020
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