Meet our campaign artist: Sara Dodd

Can you start by telling us how your journey into art began?

I fell in love with pottery at school. There was something so exciting about the wet, malleable material of clay, which could be fired and turned solid and permanent. It led me to the Cardiff Ceramics Degree course, one of the last remaining ceramics courses in the country. Over the three years there, I learnt the basics of throwing on the wheel, hand building and the alchemy of glazes. After graduating, I moved to London to get some real-world experience working as an assistant to an artist. It taught me a lot about what it took to run a studio and make a living as an artist. My first studio was within a communal studio in Wood Green, which was a great, affordable option for getting started.

Eventually, I needed more space, so I made the leap to Cockpit Arts, where I have had my studio since 2022.

How do you get into the right mindset to create your artworks?

My work is often repetitive and can be fiddly; if I don’t have the right attitude, it can definitely become overwhelming. Without a clear mind, it can be difficult to sink into the flow of my making process, though the morning routine at the studio helps get my mindset right for the day. The ritual of sitting and jotting down all my thoughts (while drinking a cup of tea, obviously) leaves me more focused for the days making ahead.

In times when I’m struggling to find that flow, I find a change of scenery with a short walk to the Deptford Creek or listening to a good audiobook usually does the trick to get me back in the groove!

How do you know when a piece is finished?

All my pieces begin as watercolour sketches; by doing so, I have an idea of how they will come together in my mind before getting started in ceramics. Having that to refer back to enables me to dip in and out of being spontaneous with the material, while having an underlying vision of what I’m aiming for as a final result.

The kiln introduces an element of chance – have you ever opened it to find something completely unexpected that changed the direction of your work?

The opening of the kiln is always a moment of holding your breath to see if things have survived the firing or come out as hoped! When creating my freestanding sculptures, called Stacks, the kiln itself is an important collaborator. Its extreme temperatures transform and shift the porcelain, sometimes unpredictably. It is part of the beauty of my making process that each piece holds a balance of design and chance, capturing freedom and individuality fuelled by the kiln itself.

The sky comes up a lot in your work. Is there a particular type of light you’re drawn to?

Growing up in Wales and spending a lot of school holidays in the west of Ireland, I saw a lot of grey skies. We would be out in all weathers, climbing mountains or visiting the beaches. Those experiences certainly informed my appreciation for an expansive open sky. There is something magical about a stormy dusk sky, the sun beating through darkening clouds. It makes for dramatic and stunning skies!

View this post on Instagram

A post shared by Sara Dodd (@saradoddceramics)

Your reference points are really diverse (Shibori, Peter Collingwood, Japanese aesthetics). How do these translate into something that feels distinctly yours?

It is an eclectic list, but the common theme throughout is an appreciation for material and process. In my practice, I’ve developed a rather non-traditional way of using ceramics. It’s come about through plenty of trial and error, pushing the material so it’s unrecognisable, often mistaken by viewers for fabric or paper.

Ceramics has seen a surge in recognition as a contemporary art form in recent years. Why do you think this is?

For a long time, it seemed ceramics didn’t have a space in the art market and was dismissed as being too craft-based. I think the difference now is that people are discovering what a diverse material it is and appreciating the amazing array of things you can create with clay. It’s great to have a special place within the Affordable Art Fair for visitors to come and experience that.

View this post on Instagram

A post shared by The Art Buyer ~ Helen Armon-Jones (@the.art.buyer)

How do you think about accessibility in your own practice?

Accessibility is really important to me; I create smaller pieces that are sold exclusively direct from the studio for just that reason. These small pieces are often maquettes of larger artworks I’m working on or opportunities for me to be playful with colours and combinations. Commissions are another way pieces can be made to fit someone’s budget. If someone loves a piece, it’s such a pleasure to work together to bring them something special. I want my artworks to be enjoyed in as many homes as possible.