30/11/2024
🌿 A Conversation with Potter Hannah Coetzer
Hannah Coetzer’s pottery is more than just functional art - it’s a deeply personal expression of storytelling, creativity, and a connection to the natural world. Through her thoughtfully crafted pieces, Hannah invites us to explore emotions, experiences, and the beauty of imperfection. From her mastery of Raku and Saggar firing techniques to her handmade tools and intricate glazes, Hannah’s work is a testament to her dedication to the art form and the stories she weaves into each creation.
In this interview, Hannah shares the inspirations, processes, and experiences that shape her journey as a potter. From her philosophy of embracing failures to the soulful stories behind her pieces, her words reveal the heart and passion behind her work.
𝗤: Your pottery has a distinctive style and energy. How would you describe the personality of your pieces, and what feeling or story do you hope each one conveys?
𝗔: In essence, my pottery is a blend of artistic expression and storytelling. Each piece has its own personality, often inspired by nature or my personal experiences. Through my creations, I strive to create a connection between the viewer, the natural world and myself as the artisan - inviting them to discover the beauty and stories that lie within each piece of clay.
𝗤: Textures and finishes are a big part of your work. Could you share how you experiment with different surfaces, glazes, and firing techniques to achieve these effects?
𝗔: The journey of experimenting with different surfaces, glazes, and firing techniques is a continuous exploration of possibilities. Each piece of pottery is a canvas for creativity, where the interplay of materials, methods, and conditions results in unique, expressive works of art. The joy of discovery and the thrill of unveiling the final product after each firing is, to say the least, addictive. 😊
For texture, the foundation is laid right at the start when I select the type of clay and initial shape of the piece. By manipulating the clay in different ways, one can create varied base surfaces and textures that offer unique potentials for final finishes. After this phase the work is bisque fired and the glazing stage can commence. This is where the magic truly happens! The application of glazes can transform a piece from a simple clay form into a vibrant, finished work of art. I experiment with both commercial glazes and my own homemade blends, often layering multiple glazes to see how they interact. I am particularly drawn to reactive and specialty glazes, which can produce stunning effects based on their chemical composition and the firing atmosphere.
Glaze firing is the final, transformative stage of the pottery process. Different firing techniques and atmospheres—such as oxidation and reduction will dramatically alter the appearance of glazes and surfaces. For example, in a reduction firing, the limited oxygen causes certain metals in the glazes to react differently, often resulting in deeper, more complex colours. Specialising in Raku and Saggar firings, I have accumulated many burn marks over the years – lol – but my passion for these traditional methods of firing remain. Raku firing is a fast and intense process where pieces are removed from the kiln at temperatures between 880ºC and 1040 ºC (for the glazes I develop and use), then allowed to cool in the open air or in combustible materials. The Raku and Saggar firing techniques create dramatic patterns, metallic sheen etc, which add a spontaneous element to pottery pieces that cannot be replicated. This ensures that each Raku and Saggar creation is a truly unique work of art, impossible to reproduce.
𝗤: Is there a recurring theme or image that often finds its way into your work? What influences or inspirations bring you back to these elements?
𝗔: The answer is both yes and no, as it largely depends on my state of mind and creative journey at the time of making the piece. Some of my creations, like the Raku bottles, exhibit a consistent theme in terms of shape, though their surfaces differ significantly. Conversely, other works are entirely new, inspired by recent observations or emotions. If I had to identify a recurring theme or image in my work, it would be nature or laughter. The goal is for my creations to bring joy and happiness to those who encounter them.
𝗤: Can you tell us about a particular piece that challenged you or helped you grow as an artist?
𝗔: Each piece carries a unique story and a part of my soul, but one particular creation stands out in my recent artist journey - a torso sculpture I named “Soul Gazer”. A few months ago, I visited the Waitangi area.
Whilst standing on a hill, admiring the stunning ocean view, a man came to stand nearby. His gaze was fixed on a lone winter-bare tree, and he seemed lost in contemplation, his mind a maze of questions and thoughts it seemed.
I began to imagine his story. Was he a philosopher, pondering the mysteries of existence and morality? Was he burdened with regret, or had he found the secret to happiness? I couldn’t help but wonder what secrets he held within.
Silently he became my muse, I couldn’t wait to get back to the studio to sculpt a version of what I experienced while observing him. Creating the piece took time and significantly challenged me as I tried to capture the essence of my experience and develop an interactive sculpture for the viewer. I aimed for the piece to allow each viewer to interpret the man's facial expression differently, based on their feelings while viewing it.
I hope the Soul Gazer found answers to the questions he pondered on that hill and that his thoughts have since quieted. I haven't had the heart to put Soul Gazer up for sale yet, but I will in due course….
𝗤: Describe a typical day in your studio. Do you have any rituals or practices that help you get into the creative flow?
𝗔: A typical day in my pottery studio is a blend of routine and spontaneous creativity. If I am not feeling creative, I refrain from creating – it’s as simple as that. If you force it, the lack of inspiration will show in the work.
Before I begin my work, I take time to tidy up the studio. I find that a clean and organised workspace is essential for my creative journey. I arrange my tools, prepare the clay, and ensure that all materials are within easy reach.
This process of preparation is almost meditative, allowing me to transition smoothly into the creative flow.
Once my workspace is ready, I turn on some music and immerse myself in the creative process. I then begin the wonderful dance with the clay, feeling its texture and responsiveness in my hands. Each piece is started with a vision, but I always allow room for the clay to guide me. This dialogue between artist and medium is where the magic happens….
𝗤: Are there any unusual tools, materials, or sources of inspiration that you like to incorporate into your pottery process?
𝗔: Pottery is an ancient art form that has evolved over thousands of years, offering vast and varied, opportunities for creativity. There is always something new to learn in this medium, whether it’s a new tool, technique, or raw material.
Whilst I use both basic and high-end tools, my favourites are the ones I have made myself, such as carved stamps that took hours to design and manually carve. Similarly, I enjoy creating my own raku glazes.
I draw inspiration from ancient pottery techniques and styles, such as those from Japan and Spain, as well as from incredible Potters like Simon Leach, a third-generation ceramicist, and Florian Gadsby. On a local level, I admire the work of Wiebke Douglas.
𝗤: For someone new to pottery, what advice would you give? Is there something you wish you’d known when you first started?
𝗔: You don’t need to invest in fancy and expensive tools when you begin. Instead, dedicate as much time as you can to honing your skills and embrace the failures. It is through failure that you will learn the most and become a good Potter that will create higher quality, refined art pieces.
𝗤: Do you see yourself as a storyteller through your pottery? How do you think your pieces reflect the story or feeling you want to share?
𝗔: I do see myself as a storyteller and sincerely hope that this narrative aspect resonates with my audience. The process of creating pottery is itself a story. From the moment I touch the clay, I begin a dialogue with it.
Each piece is filled with a narrative that reflects my personal experiences, feelings, and the world around me. Pottery, for me, is more than just a craft; it is a medium through which I communicate emotions and stories that might otherwise be left unsaid. Creating a pottery piece is a time-intensive process.
When someone holds one of my pieces, I hope they feel the intention and care that went into its creation. I want them to sense the narrative behind it and a reflection of their own stories and emotions in the work.
Thank you, Hannah, for sharing the stories and artistry behind your incredible pottery. Your dedication to creativity and storytelling shines through every piece, offering a reminder of the beauty in both craft and connection.
🖤 Visit Little Black Gallery to explore Hannah’s creations and experience the narrative and craftsmanship for yourself.
📍 394B Kerikeri Road, Kerikeri
🕒 Tuesday to Saturday 10:00am - 3:00pm
📧 [email protected]
📞 09 407 1311
