I have worked as a visual artist for 40 years, always in ceramic. I use the poignancy of the material (that it is soft and very fragile) to reference the physical stories I like to tell. I am in love with the humbleness of clay and though I have had some fine arts education I have considered myself mostly self taught. My techniques are simple and results driven.

I have a long history of producing and exhibiting social and sometimes political artworks made of ceramic. My earlier work referenced my history as the daughter of a severely disabled mother in which I identified myself as second generation disabled. The initial work was awkward with scribed images of adaptive devices drawn from memory on slip cast earthenware bowls and dinnerware. Physical memories and emotions. The issue of craft or art was moot, these were stories I needed to tell and I realized I could use my manual dexterity to illustrate the clumsy awkwardness of my images best in clay.

Recently I went through a period of questioning my direction and my identity as an artist. I was always on the outside – worked with clay but not a potter, accepted as a visual artist but not seeing any work comparable to my own. I always knew that the content was what held me closest yet was the most difficult part of making art. Working as the lead artist/designer/producer/community worker with various marginalized and underrepresented communities producing community engaged public art projects helped me get my sense of self back as an artist and give meaning to my work. My recent narrative ceramic vessels obliquely tell personal stories from many stages of my life.

I am currently working on a number of large-scale community projects, doing a residential collaboration with Skinner Architects, and preparing a large work, titled Hike for an upcoming exhibition (with Jamelie Hassan) at the Canadian Clay and Glass Gallery in Fall 2023.

Artist’s Statement Courtesy of Susan Day