My name is Ella Porter and I am an artist working predominantly with clay/ceramic but I also work with beading, intaglio printing techniques and drawing.
What led you to explore ceramics? Was there a specific moment or inspiration that sparked your interest in working with clay?
I first started working properly with clay after the GSA Fire. My final year of painting and printmaking at GSA ended tragically with the first macintosh fire. I ended up coming back to London and getting a studio alongside part-time work and was lucky enough to work alongside Fliff Carr in her ceramics studio for some new work I was making to replace lost work in the fire.
I had worked with clay prior to this, but this was the first time I actively sought out working with clay for a fine art project.
Yes, I studied at the City Lit for a diploma in ceramics under the tuition of Jim Gladwin, Annie Turner, Robert Cooper, Sarah Radstone and Dan Kelly. I was extremely lucky to have such a great group of mentors during my time there.
Between studying I had a few years of working in my own studio before going on to study Ceramics at The Royal College of Art. My MA was supported by a scholarship from the Queen Elizabeth Scholarship Trust. During my time at the RCA I had the pleasure of having both Sam Bakewell and Annie Cattrell as personal tutors.
Where do you typically find inspiration for your art? Are there specific locations or experiences that have directly inspired your work for Edgelands?
I have always been fascintated with archeology and past civilisations, the material culture we surround ourselves with, the objects which were used and cherished several thousand years ago are often not dissimilar to those we use and keep today. Clay acts both as a timecapsule of touch and interaction, the traces of a clay objects making are impressed into its surface and this acts as a sort of universal language which is true of any civilisation; ancient and contemporary… it extends universally beyond language to touch.
Most of my work starts from the reading of ancient artifacts. Sometimes I quote or use them directly (like in the pipe pieces) and sometimes they act as inspiraton or perhaps a more subtle influence on the work.
Can you walk us through your creative process, from concept to completion?
As mentioned above traces and imprint are important in my practice. I often start by looking at either an object that interests me or a surface quality. I still take a lot of inspiration from my background and ongoing research into painting and printmaking and painting theory.
I often work a lot with slab building but tend to use the tool best for the ideas I am working with, sometimes it is the wheel sometimes I don’t make it to the studio because I am hand weaving found pieces or readymade elements together. It tends to go in waves, one then the other. The woven glass and pipe pieces act as a time for contemplation, I get into a rhythm with the repetition in this process and use it to mull over the next work I will make in clay in the studio.
Where do you create your work? Could you share a bit about your studio or workspace?
I think I answered this above but both home and studio… I made a commitment to myself to always have a studio after my BA/GSA fire, the displacement of losing work and having worked in such an iconic building, still probably the best studio I have had to date, has left me with a real attachment to space… this in turn has helped me to continue with my art practice, as I have always had a studio and so needed to make sure my other work fit around that.
Do you have preferred techniques or materials you work with in ceramics? What draws you to these approaches?
It depends on the work I want to make, I don’t always work with clay and I still feel that I am ideas led despit having chosen to work predominantly with clay.
It is addictive though! I think clay does have a way of telling you what it wants to be to a certain extent you are always reading the material and in conversation with it and therefore you are not in total control, as it shifts and changes with drying and firing.
I guess to go back to the question, mainly slab building but I throw also. I like to use fairly simple tools, cloth, rolling pin and found objects.
How would you describe the pieces you’ll be exhibiting at County Hall Pottery Gallery? What do you hope viewers take away from them? Can you talk about the specific materials and techniques you are using for this exhibition?
For the woven glass and pipe pieces I am using peyote stitch to create the hand woven works, I’ve been working with this process since I was a child. The weaving draws on connections to jewellery and the body, which feels appropriate to me. I am keen to add a weight and importance to this craft process, again it is a process that is universal and can be found across many continents in ancient artefacts. It is slow and requires patience and care, this time for contemplation I feel is more important than ever…the world is moving faster than it ever has, so for me it acts as a reminder to slow down and think.
What are you currently working on? Are there any upcoming projects or exhibitions we should look forward to?
I have a few in the pipeline… I am working towards Ceramic Art London opening in May and also have a small solo show next year in July which im working towards… its been a busy time with collect and CHP so I am also looking forward to a small pause in the summer.
View the price list for the artwork Ella is displaying and available to purchase in our Edgelands exhibition here, and follow Ella on Instagram here!
To take part in a County Hall Pottery exhibition or to speak to the team, please email gallery@countyhallpottery.com