Lynsay-Erin Mercer working on the Allianz Arts and Business Awards 2016 #AABNI

Lynsay-Erin is a sculptural ceramicist with an Architectural background. Her work is derived from conceptualising studies of human behaviour and cognitive processes.

Each construction explores the connection between physical sensation and abstract concept.

Through the controlled application of slip, the artist creates contrasting surface textures which provide a tactile experience of an inviting, yet repellent nature.

She is a local artist who also works as an Art and Design teacher. As a home studio based maker she produces a range of ceramic craft for exhibition and commission, including the past 7 annual Royal Ulster Academy exhibits. Mercer was also appointed to design and create the Awards for Allianz Arts and Business ceremony in Belfast 2016.

1. What was it about ceramics that first interested you?

My first encounter with clay was in first year as a pupil at Dominican College Fortwilliam. Mrs Mullvenna provided our class with a handful of extra smooth stoneware clay. We were instructed to refer to a painted study of a bun that we had completed for homework a week beforehand, I had chosen a cinnamon swirl and decorated it in icing and smarties to add some character. Of course the bun was eaten after I finished my homework, so the thought of bringing it back to life in clay was exciting.

 That one of a kind bun, was now gone, no longer a tangible physical thing. The bun was an image ingrained in my memory with my perception of it translated onto paper.  Mrs Mullvenna demonstrated how the clay could be manipulated with our hands. As I followed her instructions I was comforted by its silky texture and the lump of earth was now starting morph into an identifiable shape. The process relaxed me and I felt that the 3D interpretation of the cinnamon swirl wasn't as restricting as the painted study. I had studied its form with my eyes, but also with touch as I embellished then consumed it.  With clay I was able to translate my perceived observation of the bun into something with permanence that provided a tactile experience, for me this was much more rewarding than the flatness of a 2D study.

From the moment I started making my clay cinnamon swirl bun, I knew that ceramics was going to be a huge part of my life no matter what career I chose to follow. Over the next few years it became apparent that I had a natural ability to create from clay and observe my surroundings with a spatial awareness that lead me to study Architecture. Both Ceramics and Architecture had a lot in common in terms of design and artistic process, I used clay to build models and as a means of recording textures or analysing initial design concepts.

As an architecture student I couldn't have been happier, i then decided to study ceramics applying gained architecture skills and knowledge to a craft discipline that I love. Now I draw most inspiration from architecture related subjects, including the study of human behaviour which is informing my current series of work ‘embodied cognition’.

2. How would you describe your ceramics in three words?

TACTILE

CONTEMPORARY

SCULPTURAL

3. Do you have any preferred styles or techniques?

My work is handmade; each piece is constructed from separate components that have been coil built or press moulded. The internal/external surfaces are highly textured through a controlled application of slip, contrasted with a crackle glaze finish. I often define recesses and focal points with an organic spongy texture, which eases the transition between the rough and smooth of the textures.

In terms of artistic process I begin by deciding what it is I aim to achieve, what concept I want to communicate. Some of my designs are born and resolved during the making process but most are planned, beginning with research, recording and analysis. I look at other artists and designers gather images of similar surface textures and forms, which complied together in a sketch book, provide the foundations of an initial design. The design is constantly reviewed and refined throughout the making process and I record the projects progress for future reference. For me keeping a sketchbook has always been the key to a successful outcome.

4. What do you draw your inspiration from?

Human behaviour is a vast subject and provides me with an endless source of inspiration. How humans interact with their surroundings, natural and manmade. How we interact with each other and how this varies in different cultures and social hierarchies. I look at situations and interactions on both micro and macro scales. Interpersonal relational skills for example are evolving to suit the rapid expansion of network culture. Communication in the developed world is immediate and less personal, having a detrimental affect on how we interact on a one to one basis. New Societal and psychological issues are arising from the extensive use of social media causing the primal nature of human needs to be neglected. I look at Maslow’s ‘Hierarchy of needs’ theory, a theory on human motivation, from this I draw inspiration on how to provoke reactions in the audiences that interact with my sculptural work.

The spikes which I create using the controlled application of slip, make some individuals reluctant to touch the object, either because they perceive them to be fragile, fearing they will break and that they will be held accountable. They may also fear that the spikes will cause injury, which they will if not approached with caution. Either way their actions or conscious decision not to touch, reflect physiological and safety needs as well as esteem and self-confidence.

Each human-product interaction that takes place is unique to the individual, those confident enough to touch my work in a gallery setting, may feel motivated to challenge the traditional gallery etiquette due to self-actualisation needs or to satisfying their urge to experience the sensations they would feel in coming into contact with the textured surface. This behaviour, when studied on a micro scale also involves cognitive processes, which I am currently drawing inspiration from. It fascinates me how an abstract concept stimulated visually is transferred into a physical motion or sensation.

Through the universal language of touch, I aim to provide an experience that through successful, provocation of a notable reaction encourages self-awareness in people, of their own personal needs and how they are the motivation behind their behaviour.  The observer is invited to tap into their creative intelligence and contemplate their emotions towards life, promoting a fuller consciousness of what it means to be alive. In particular how our sense enable us not only to survive, but to live and appreciate life.

Functional ceramics are objects of daily rituals in many cultures; this perennial need for the utilitarian provides reason for the creation of ceramic craft that does more than serve an aesthetic purpose. My work could be developed extensively focusing solely on the need to meditate, take time out, and slow down the pace of life. Touch is the most primitive form of communication; an infant relies on physical contact to satisfy its physiological needs which are crucial for development. In the future I imagine my sculptures serving a ritualistic purpose, a meditative outlet through a sensory experience. At present I don’t feel the need to clearly communicate the intended purpose and inspiration behind my designs, they are there to be enjoyed and spark conversation. Building an artist audience relationship is how I plan to move forward in order to continually develop and refine, eventually reaching the goals that imagine.

5. Do you have any advice for anyone interested in ceramics?

Ceramics is a well-known skilled craft but comes with many preconceptions. It is definitely not as glamorous as it sounds, there is a lot of back breaking hard work involved and things get extremely messy.

It can be tedious and very frustrating when things don’t go as planned, in saying that part of the beauty of working with clay and different types of glaze is their unpredictable nature. Endless amount of hours injected into a single piece still won’t guarantee the finish will be exactly what you aimed to achieve.

Always practice and glaze test before you create something new, you are almost always guaranteed to make at least one mistake, naturally as it’s a handmade craft. Make two or three of everything to help ease the pain if something goes wrong, it saves time and money especially if it’s a paid commission.  

Remember that mistakes are good; they help you learn and develop your skills.

There is nothing better than coming across a happy mistake, if you record everything you should be able to take the process that gave birth to the mistake, repeat it, master it and claim it as a new technique that could even become your signature style.

It’s important to recognise your strengths and weaknesses, balancing out what you need to focus on depending on your short and long term goals. Personally, I have always been a hand builder. I was never fiercely interested in throwing vessels on the wheel, which looks a lot easier than it is. Honestly, I wish I had taken the time to perfect throwing during my time studying; trying to get time to do it now is difficult.

My advice for anyone choosing to study ceramics is to try everything, experiment, experiment, experiment, especially in the 1st year which I didn’t have the pleasure of doing as I started straight into 2nd year.  Get to know your classmates work, help each other grow, inspire each other rather than be competitive , most importantly, constructively criticise each other’s work in critical review sessions.

  Don’t be shy and reach out to your tutors for help, they are there to guide you in the right direction, although they won’t hold your hand as it is crucial forbudding artists/designersto find their own style, way of thinking and seeing. It is as much about the mastering the artistic process as it is perfecting the final outcome. Keep a record of everything, take notes and pictures, and sketch as often as you can or need. Look at other art and design, venture into other subject areas for inspiration, especially things that excite or intrigue you, this will keep up motivation as from experienceI can safely say that it’s a love – hate relationship with clay when you are passionate about practicing ceramics!

www.lynsay-erinmercerarts.com