Photography: Anna Briggs
Who needs a ribbon when you can have a more permanent solution? Sara Boult is a hugely inspiring ceramicist who is making waves in the pottery world. The Greytown-based artist chats to us about her career to date.
Tell us about your art journey.
I started pottery as a form of art therapy at King Street Artworks, which is a government-funded initiative for mental health. The first moment I went on the wheel, I had a light-bulb moment and knew this was what I wanted to do. From there, it was a gradual progression of carting around various states of pottery in my car and adding to my make-shift home studio (kitchen bench), working as a pottery assistant and part-time pottery tutor, to taking the plunge and building my own home studio.
What do you love about pottery?
What’s not to love? You’re quite literally turning mud into something tangible and functional. You’re also seeing me, inside my mind and me as a person in my work, which is pretty special. I quite literally can lose and find myself while making pottery.
The bows have become such an iconic part of your portfolio. How did they originate?
The bows are a signature style of mine, which I have been creating for a little over three years now. I love a bit of nostalgia and the bows are reminiscent of my days as a fisherwoman, when I worked on a deep-sea fishing trawler. Initially, I wanted to make knot wall hangings, but had an idea to ‘tie’ a bow in a similar manner. Now the bows feature on other works, such as my bouquet vases, and I’m constantly imagining where I can add a bow.
What does the perfect day of creating look like for you?
A perfect day would look like a coffee in a handmade mug, with the studio doors open, a backlog of podcasts and a day of throwing on the wheel. I quite enjoy the repetitive rhythm of throwing the same shape, as I can get into a bit of a flow state and can let my hands do the work while bingeing a true crime podcast.
Your home studio is a dream. What was the process of constructing and designing it like?
The studio is a very humble garden shed. I wanted something that was financially affordable and functional, yet I’ve somehow turned it into an extension of me. I think everywhere you look, you can see glimpses of my personality, from the bursting yet colourfully organised shelves to the disco ball and artworks from other creatives. One day, I’d love to have a big barn that could house workshops.
But for now, I’m happy with my wee garden studio shed.
A lot of your work is a beautiful celebration of memories and loved ones. Did you expect that to become a common theme?
At the time, being in the middle of my own healing journey and losing both my parents a year apart in 2019 and 2020, I really leaned on pottery as a way to process my own feelings. Grief is a painful, yet inevitable part of life. It’s also such a linear feeling. I always say, “You don’t get over it, you get through it” and creating pieces that help you get through it is my why.
What do you hope people take from your art?
I had no experience, all self-taught through lots of research, practising and tidbits from other potters. I hope that people see that you can do anything if you just trust and believe in yourself. Life should be playful and I think we often lose that naturally as we get older. Creating art that is an extension of yourself is a pretty vulnerable thing. When people like the art you create, it’s kind of like an affirming “hey, you’re different” and so is your work, and I like that. Of course, it can go the opposite way, which is why art is cool like that. It’s subjective and so are people. When you’re really, truly comfortable with yourself, you can let that creativity flow and you find the people who align with you and your work.
Are there any pieces in particular that you are particularly fond of?
My mother’s urn. It’s also leopard print, which I think is pretty iconic and kind of badass.
Are there any mediums that you want to try?
I feel so creatively satisfied with pottery; there are so many avenues you can take with it and many rabbit holes to go down. I have definitely got a list of things I want to try such as raku and pit firing, slip casting, making my own glazes and attending workshops. There are just so many things you can learn in the ceramics world.
What do you have on the horizon for your art?
This year is about balance and taking a step back from production and allowing more time for play and creativity. I’m hoping to collab with other local artists, which is something I’ve always gotten a lot of joy from, especially working alone. Getting together with another creative, combining skills and talents, really ignites something in me.
Where can our readers find more?
You can find me on my socials @saraboultceramics and my webstore – saraboultceramics.com
Read more:
- Inside Morgan Paige Taitoko’s world of soft focus and distortion
- Year of art: Evie Kemp’s Our House of True Colours brings colour to life
- Behind the work of Wellington poet and painter Briana Jamieson
