Hi Louise, did you grow up in a creative environment or did you become involved in art later in life? What are some of your most significant memories of early making?

Although neither of my parents were artists when I was young, I did grow up in a creative family. Several aunts, uncles and my grandmother are artists and growing up in a house full of their work was definitely an inspiration for me. I was always encouraged in my art and I remember my mum used to save boxes, cartons etc so we could make things out of them. My parents enthusiastically bought me art supplies and books. Although I do believe that we all have an artist within us, and it can reveal itself in many ways; gardening, parenting, cooking and so on, we often just need the time and space to express it.

What first drew you to creating ceramics and how has your relationship to it evolved over time?

I love the combination of physically building with clay alongside the decorative element where I get to add colour and details. I love how clay starts as a malleable, soft, form which gradually hardens and then completely transforms through the firing process. Another important element for me is making practical, domestic pieces. I want my art to be at the heart of people's homes, making everyday life slightly more charming and, hopefully, connecting people with the natural world.

Can you tell us more about what your life in the studio looks like?

My favourite time in the studio is when I'm in the flow of making. The most time-consuming and enjoyable process is the decorative stage where I'm working from my sketch book and transferring images and ideas onto the surface decoration, whilst listening to a podcast or audiobook. Or I'm rolling clay to make a new line of plates or hand sculpting to make candelabra. I also have to make regular time to eat, move and walk the dogs, especially in winter when the days are so short. It's easy to lose track of time and neglect other things when I'm enthralled in the creative process. Ceramics is very challenging in itself, but that's also what makes it very satisfying. So many things can go wrong for so many different reasons. From cracking clay to faults in the glaze, it's always exciting when the pieces come from the final firing without any faults! I like to remind myself that the nature of ceramics teaches us how to not be too attached to anything and how to let go.

What does you hope audiences might feel when they encounter your work?

My work is strongly decorative but my motivation is the natural or non-human world and creating a sense of connection and immersion in that. Plants and animals speak to us in a way that nothing else can, they are deeply emotive and relatable. We love our pets and gardens as nothing else. They allow us to give and receive love and feel deeply, without the constraints and complications of the human world. It is often through these relationships that we experience our deepest connection with nature and the non-human world, a world beyond words and speech. People often find my work touches them and makes them feel emotional which is the highest praise for me, it means they are feeling some of what I am trying to convey through my work, a connection to and appreciation of the natural world and the sense of peace I find within that.

Can you describe a moment when a piece took an unanticipated direction during creation? How do you balance planning with staying open to spontaneity?

I often don't know until I start what themes or motifs I will create in each piece, I just make what I'm drawn to at the time. At the minute, I seem to be wanting to create lots of sleeping fluffy cats, surrounded by overblown, crumbling foliage - perhaps because it's the weather is getting colder and darker and the urge to be cosy is getting stronger! The planning stage all happens in sketch books, I'm constantly drawing new shapes of flowers or animals and by the time I get to transferring the images to clay it's just a matter of intuitively drawing together the elements that feel right at the time. That said, there's always times when what you're creating just isn't flowing and you need to be able to scrap it and start again. Often things don't work and you go back to the drawing board but this process has taught me the most. You can achieve and make things that you had no idea you could, you are capable of more than you realise.

What motivates you to continue creating? 

I feel most 'me' when I'm making work that I'm pleased with. The whole process from sketching to building and decorating gives me the biggest pleasure, to see my ideas come to life and be turned into a practical and decorative object. Maybe that's what keeps me returning, along with the satisfaction of making a piece that will be treasured by someone.

What are you most excited to be working on at the moment?

This collection of plates! But behind the scenes I am always hoping to have time to return to learning how to paint better. It's a long term goal.

See Louise Hick's collection of ceramic plates in gallery now, or add one to your own collection by shopping on our website now.