/ Read the full interview in Ceramics Now - Issue Two
Ceramics Now Magazine: Growing up near the ocean around natural diversity and continuous change, you have developed a very finite line of work. Do you visualize your work from the very beginning?
Debra Fleury: I spend a lot of time sketching and planning. My sketches can be very specific and architectural, or very loose and gestural. But ultimately, I am an intuitive thinker. I rely on feeling and instinct in my artwork. When I sit down with clay the careful preparation is put aside in favor of the moment. Once I have the clay in my hands, I am often swept away by the possibilities I encounter as the clay begins to express its properties.
Do you remember the first ceramic piece that you created? How did it look like and how do you feel about your evolution as a ceramic artist?
I remember the first piece I created that had an impact on me. It was a little pinch pot, a half sphere and nicely formed. It was so perfect, likely the best I had made to date. I wondered what would happen if I dropped it while it was still malleable. I decided to indulge this impulse and I let my little pinch pot fall. The perfectly round rim became this very interesting, offset elliptical shape in response to the force of the impact. After it was fired it retained the mark of that force. It looked plastic, but it was solid.
This experience helped me recognize the approach that I wanted to take with this medium — to enjoy the process and avoid feeling that the work is precious. The visual aspect of the work is compelling to me, but the process is the lure.
Tidal, 2011, Dark Stoneware, Porcelain and glass. Fired to cone 6, wall installation. Dimensions variable, average size per individual piece is approximately 10x10x8 cm - View her works
When constructing a new piece, you are using different materials such as clay, glass and glaze. What challenges you the most by combining these materials?
I love the unknown. I love being surprised by the materials and I love experimenting. Combining clay bodies with different shrink rates, adding glass, or using glaze in an unconventional way are a few of the methods I use when courting disaster or looking for insight. I push the materials toward something that I think will be interesting, but I never really know what will happen. Opening the kiln after a firing can be like meeting the work for the first time.