Inga Svendsen’s work in clay has taken her on a journey of discovery. Originating with the horizontal ochre bands of the original “Dune” series on her fine, crisp, yet strong cylindrical forms, she has expanded her range to include the stark desert sun of “High Noon”, the swirling dark and light interplay in “Storm” and the softly geometric “Evergreen” in which the look of cloth is highly evocative. Most recently, the “Spring” series showcases pieces in which textile design is evident with the use of repeat patterning, like you might find in a yardage of all-over printed cloth.
Each series created mirrors different interactions of the artist with nature. For example, the original “Dune” series reflects her childhood memories at the beach, running over sand dunes to the water. However, Svendsen observes that we are now confronted by the towers of modern development, casting their imposing shadows onto the sand. She has used the shape of the cylinder as an analogy for the towers making their mark across the beach.
From this launch pad, all the other series were derived. The “Storm” series for example, conveys the emotional intensity of a tempest, the swirling lines and enclosures bringing movement and turbulence to the contrasting clean straight lines of the vessels. In combining these elements of form and pattern, Svendsen aims to blur the traditional distinction between man and nature. She believes that humans and the natural environment share a dynamic, interactive relationship that needs to be recognised and respected.
Her vessels further exemplify this theory of the sharing of space and the integrity of being, by using coloured clay as the decoration itself rather than painting ornamentations over the forms. This signifies for her, that she is working with the nature of her world rather than seeking to dominate it.
Svendsen works from her studio in Newtown, which she shares with her cat, Raisin. In this space, she creates her pieces from porcelain paper clay. This is a fine clay containing paper that burns out in the firing, leaving a light vessel embodying inner strength. Svendsen tints the raw clay with metallic oxides and stains to produce a delicate range of up to thirty shades of an individual colour. She works the colours with components such as copper, iron, cobalt and chrome to generate her extraordinary palette.
She organises the variously coloured clay into patterns, manipulates these for best effect, and then rolls the combined clays into a very thin layer, like a pastry. This clay sheet then contains the pattern that she has designed, which she subsequently cuts and hand-forms into a tube-like shape. The seam is left to look like pressed edges of material and is finished with Svensden’s neat button-like signature stamp at the top.
This work is not glazed, but is buffed smooth from the sanding applied after each of the two kiln firings. Breakage rates are relatively high due to the delicate character of the pots, and are even higher when a particular cat is involved. The finish is satin-polished and contributes to the elegant look of each vessel. Where there is no colour applied, the fired porcelain is thin enough to be translucent, further enhancing the light feel of the work.
In Svendsen’s words, “The aspects of my work that are most important to me are the honesty of the decoration within it, the colours and proportions I use to create rhythms and the emotional response the work provokes in others.”
Most recently, Svendsen took the opportunity to absorb further knowledge, by travelling to Hawaii to study with the renowned Dorothy Feibleman. Feibleman’s concentrates on nerikomi, which is an embedded ceramic colour technique. Her one-off porcelain bowls in this style are of extreme delicacy. This work is quite different to Svendsen’s, but Svendsen recognised that Feibleman’s considerable knowledge in this relatively rare focus area of coloured clays, was going to provide her with more insight for her own work.
So it was more than the shopping and beach delights of Honolulu that drew Svendsen there. At the Honululu Academy Art Centre, in Feibleman’s workshop, a small group of ceramic artists was introduced to Feibleman’s take on tools, clay types, mixing and gradient-creating methods for this type of work. There were several demonstrations from Feibleman herself, and the students each had their own project, which they crafted and completed over the four days. Feibleman provided lots of tips and gave suggestions on ways to tackle problems that arose. Svendsen says that Feibleman was able to quickly answer questions that others had been unable to help her with. Svendsen felt that this was an invaluable opportunity, and is now incorporating the knowledge gained into her own work.
Svendsen now seeks to experiment with other shapes for her vessels. In addition to the cylindrical form used to date, she is returning to the open bowl form of her earlier vessels and has also started experimenting with platters. She wishes to make shapes that encourage the viewer to see what is inside as well as to observe the external pattern, further accentuating the fact that the colours used penetrate right through the body of her pieces.
Svendsen has started with a new body of work, “Sanctum”, commencing with the “Terra Firma” series, which is similar in style to the original “Dune” series, using bands of horizontal clay. She commences all new work this way, in what she calls the classic series. She does this to get a feel for how the colours are working together, their proportional effects and to get an understanding of their physical effects, such as how these combinations may warp with firing.
“Terra Firma” pieces continue to showcase a sliver of translucent white clay in their bodies, but will be coloured with red iron oxide to produce colours ranging from a gentle ecru to a muted deep coffee. In this series Svendsen gets to satisfy her wish to create a link to our wide, brown land.
Svendsen holds an honours degree in Fashion and Textile Design from UTS and has also completed an Advanced Diploma in Ceramics at the Ceramic Design Studio, Sydney Institute of TAFE.
Svendsen's work can be viewed across the country. In Sydney it is available at Planet Commonwealth in Surry Hills and Kerrie Lowe Gallery in Newtown NSW. The “Spring” series vessels, “Regeneration” received the award of Highly Commended in the Waterhouse Natural History Art Prize for 2010 and are being exhibited at the South Australian Museum until 5 September 2010 and travelling to the National Archives of Australia in Canberra from 24 September to 14 November 2010. The “Storm” series vessels will be shown at the Gold Coast City Gallery in Queensland as part of the 27th Gold Coast International Ceramic Art Award from 21 August to 17 October 2010.
She may be contacted at This e-mail address is being protected from spambots. You need JavaScript enabled to view it and will soon be developing a blog at www.ingasvendsen.blogspot.com
Sumi Skellam has a background in ceramic arts and is currently completing her Masters in Creative Writing at UTS. She is contactable at This e-mail address is being protected from spambots. You need JavaScript enabled to view it
