Izzy

in studio

By Rebecca

April 6^th, 2020

Izzy picked up ceramics as a way to procrastinate working in other media. She explained to me that she does things a bit differently than she would if she had been trained in it, but then went on to explain a lot of helpful background as to the available methods and the one she uses (coiling).

Like Gwen, who is right across from her in their studio space at Spike Island, Izzy is preoccupied with sounds. Her current project involves using coiling to construct vessels which she then paints, then etches away the paint to leave letters. Each vessel will be one letter, and when lined up on a shelf, the 6-7 of them will spell out a sound.

In their raw, unfinished form, the pieces struck me as oddly alive, with their leanings and meanderings. Especially when clumped together, they felt like a herd of giraffes, or a copse of trees. Izzy explained that it's helpful to construct them together in a group, so she can work out how they will interact and balance each other out in shape. She stores them in plastic to keep them moist, but once finished, she'll be very cautious and let them dry for weeks before firing them in the kiln.

As she worked and I photographed her, Izzy and I talked about a lot of things. She said she has instructors who have been skeptical of ceramics as craft, or of art without meaning -- as if all art should be political. But what if the political message is everything, and the art isn't in itself worthy? Or why can't there be avenues where you spend your political and activist energy, and work that is separate from that?

We also talked a lot about the importance of routine and habit in producing work. Izzy mentioned that she used to make art only when feeling down, or as an outlet for her feelings. But she's become much more disciplined and as a result, productive.

The time flew by, and it was really fun chatting and talking about art, work, and everything. Thanks Izzy for the opportunity! You can see more of her work on Instagram: @izmooney.