Interview With David Suckling Of Objects Of Virtue To Accompany Series Of Ceramic Pots The Call Of The Running Tide

We’re delighted to share a special glimpse into the work of Australian ceramic artist David Suckling, whose sculptural vessels are available in store.

We asked David a few questions about his practice and inspiration behind The Call of the Running Tide — a series that captures fleeting moments beneath the water’s surface.

Why ceramics as a medium?

No other material responds to your hands like clay. It has such a history of domestic and artistic use across many cultures for this reason, and I feel absorbed in this tradition.

Many years ago when I was making ceramic sculptures they became so fragile  and delicate that I turned to the more robust metals to try to express my ideas. However the direct response of clay to the hands is very seductive and I returned to it about 7 years ago with the intention of making pots as sculptures that were both functional and expressive.

I leave the surface in its natural form to expose the gestures and marks retained through the process of building. 

Can you walk us through your process, from an idea taking shape to the finished piece we see here today?

I don’t have a finished idea that I work towards. Rather, the clay dictates where I go as I build. Beginning with a slab base I build up coils of clay, each supporting the next as they harden. Part of the process is to paddle the coils together a I build, which makes it robust but also affects the shape as I go. When I can see the shape emerging  I can decide what it needs on the surface. I use additions, impressions, patterns and lines to guide the eye around the pot. Cutting holes into it adds another dimension. 

Building this way takes about 10 days, followed by drying time which can be up to two weeks. Each pot is fired individually and takes three days.

What inspires the combination of wild, uneven textures with more graphic shapes?

I found a poem which mirrored my feelings about kayaking through estuaries, watching the world underneath and around me. 

‘I must go down to the sea again,

For the call of the running tide.’ (John Masefield 1902)

I think artists probably always unconsciously bring their experiences in the world into their aesthetic expression. Although I’ve always intended to express organic shapes, I’ve gradually moved away from a repetitive or designed interpretation to a much looser approach. The shape of the pots themselves tend to dictate whether I choose the rough or wild approach, or the more control and symmetry.

What do you hope the audience will feel?

I hope they get some aesthetic pleasure from my work, and enjoy living with a piece!

We hope you enjoy this glimpse into David’s thoughtful practice — and perhaps visit to experience his beautiful pieces in person.