This Sunday we're delighted to give you a beautiful creative Q&A article with Lauren Van Uden, a multi-talented Kiwi based in London. She's worked on everything from train stations and air craft interiors to electronics and now ceramics! We discuss using ceramics as a medium, how London's creative culture differs from New Zealand's and much more!
Have you always been creative?
Yes. In my final year of secondary school I received a Bursary scholarship in painting and thought my next step would be to apply for a place at Ilam School of Fine art in Christchurch – with such notable alumini as Shane Cotton and Rita Angus. I began researching the various universities and was drawn to a new degree on offer at Victoria University faculty of Architecture and Design in Wellington – Industrial Design. The degree course combined my interest in materials and aesthetics as well as the commercial side of design for manufacture and production.
Where do you draw inspiration from?
For my ceramic work I draw on inspiration from different sources. I love visiting London museums; such as the V&A, which houses the most incredible archive of ancient artefacts. A friend recently emailed me an image of an Anatolian marble idol from the early bronze age – which has become the inspiration for my current sculptural pieces.
If the piece is more functional, my inspiration comes from the end user. How they hold an object, therefore what weight it should be and where a handle or texture is applied to evoke an emotion and make a connection with the user.
When did you start using ceramics as a medium?
As a child I had done various art classes and made some ceramics pieces however it wasn’t until university that I really began exploring the properties of the material. In my second year (2003) I made a ceramic MP3 player that would pulse in time with the music. I was fascinated with slip casting as a process for mass manufacture and made plaster moulds so that I could produce multiples of the same piece in different clay bodies.
Your work explores texture and form - what materials and methods of construction do you use?
I use a couple of different stoneware clay bodies for my tableware, predominantly a fine white clay from the Scarva Earthstone range as it casts and throws very well. It is the ideal clay for the coffee drippers I make as it takes on detail well and is durable once fired.
For the sculptural pieces I mix stoneware with a black chunky sculpture clay that is perfect for making large pieces as it holds its form well. I build these pieces up by throwing multiple geometric forms on the wheel, drying them to a leather hard state before cutting and reattaching them to create new compositions as large vessels. I glaze these internally so that they are water tight and finish the external with minimal glaze application to express the clay in its natural state.
The ceramics scene in London is flourishing, how do you approach selling your work?
The Kiln Rooms studio that I am a member of in Peckham, South London, has two exhibitions annually – the summer show and the Christmas sale. These are a great way to meet buyers and promote my work. I live in Leytonstone, East London where there is a growing creative community. I have recently received a new commission from a local wine bar called Burgess & Hall. They stock the most amazing natural and organic wines which is the perfect match to hand made ceramics. Intagram is also an important communication tool with a wider reach and audience beyond London – I love receiving requests and orders from all over the world.
Is ceramics your full time job and what was your previous training?
Ceramics is my evenings and weekend job and my day job is at Transport for London where I am a project engineer in the Engineering Development and Research team. I am responsible for delivering innovative engineering trials and proof of concepts, exploring new technologies to understand the business and customer benefits. I have always been involved in transport related design, after graduating from University I worked for Navman NZ, designing portable and in car navigation devices then went on to work for Formworks Design in Auckland where I worked on the Air New Zealand spaceseat and skycouch. Since living in London I have worked on many transport and infrastructure projects including Crossrail and London Bridge Station.
You've worked on everything from train stations to air craft interiors and electronics. How does that influence the way you approach ceramics?
My ceramics enables me to get away from the computer screen and make something nearly instantly which is hugely rewarding considering the time is takes to implement rail projects is generally years in the making. My training helps me to understand the weight and size of objects, when I first stared using ceramics I was amazed at the shrinkage rate of the material. Often I will draw an object either by had or in CAD or make a card model before I make it in ceramics, which is a typical approach for an industrial designer.
What is your favourite part of New Zealand’s design culture and how does it differ from London’s ?
New Zealand’s design history is still young which enables creativity to be unrestrained and not overshadowed by historical precedents, and an ability to achieve clarity through detaching from the noise of the global scene. Obviously in London you are so much closer to Europe, which makes design meccas like Milan, Paris and Copenhagen more accessible, and as a result, much less daunting. The market in New Zealand is small which makes it more competitive and also creates ingenuity for export. This ingenuity is a unique characteristic of New Zealand creativity and is seen in all industries from food (our great wine export) to sport (the recent success of team New Zealand in the Americas cup).
Who is your favourite New Zealand creative and why?
That is such a hard question as there are so many inspirational New Zealand designers. Len Lye was hugely influential while I was at university, his work is not restricted by a single discipline and explores the boundaries of art, design and engineering. The year after I graduated Len Lye’s Water Whirler was installed on the Wellington waterfront, it illustrates his incredible understanding of kinetics and motion. When I visited New York in 2009 I was thrilled to see his work in MOMA and look forward to visiting the new(ish) Len Lye galley in New Plymouth when I am next in New Zealand.
All imagery is credited to ceramicist Lauren Van Uden. To be a part Lauren's journey in future you can follow her Instagram here. For enquiries of her beautiful work please visit studiolvu.com.
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