ONE TO WATCH: ASTRID DAHL


A CLAY LANGUAGE


The young, contemporary ceramicist on her process – every planned and unplanned detail of it.

Characterized by a larger than life synopsis, Astrid Dahl creates ceramic works of sculptural abstraction, inspired by botanical beauty and the magnificence of scale. Working from an isolated farm in Kwa-Zulu Natal Midlands of South Africa, Astrid is drawn to the material in its truest form – clay.

Read on as we discover the ceramicist’s artistic process, the inspiration behind her works, and how the simplicity of white clay is the perfect medium for the dramatic shapes, light, and shadow that she plays with.


1. What led you into working with ceramics? Are you self-taught or have you gleaned the art from someone?

My love for working with clay and creating forms began at the Technikon Natal in 1995, when I met my ceramics lecturer, Hendrik Stroebel. I recall one session in particular, when a group of Zulu women came in to teach us the traditional method of coiling clay — that was when I truly found my vocabulary. I moved to Nottingham Road in the Midlands of KwaZulu Natal, to take up work in a bronze casting foundry. There I crossed paths with the ‘design guru’ Neville Trickett, who introduced me to the work of German photographer Karl Blossfeldt (1865-1932). Taking my cue from Blossfeldt’s monochromatic prints, I decided to work with white clay, as it creates a pure canvas on which light and shadow can “shape” the piece.

The process of coiling from the bottom up, creates an exciting challenge where one must work with (or against!) balance, tension, gravity — all of which magnify the incredible beauty and potential of form.

 

2. Which materials fascinate you the most, except for clay? Are there any that you have not worked with but would like to try out?

A big dream for me would be to learn the art of glassblowing. The translucency of the material, the variety of color, working with that heat and changing the state of glass to various stages of molten states. Wow!

 

 

 

 

3. How would you describe the creative scene in the Midlands? How does it impact your work?

I don't think it's necessarily the "creativeness" in the Midlands but creativeness as a whole, here in South Africa, that is inspiring in its diversity and brilliance of craft and skill that keeps me wanting to produce work that is extraordinary, unique and fresh.

 

 

 

 

4. To what extent do you plan your designs and to what extent are they the result of natural chances?

At the moment, I am trying to work on a subconscious level, a dialogue translating in form, proportion, beauty - the language that is communicated by the artist and her medium.

OUR FAVOURITE WORKS BY THE ARTIST

 


GET INSPIRED BY THE ARTIST’S STYLE AND SHOP OUR PICKS BELOW

High vortex vase

Vista Alegre

 


Curved lotus marble décor

Ritu Kumar

 


White marble zinnia urli

Rare

 


Lotus medium plate

Mudita Mull

 


Daydreamer small

Claymen Studio

 


Bloom table lamp

Harshita Jhamtani Designs

 


Curve box

Abaca

 


Peony ceramic wall flowers sculpture

Home Artisan

 


Hana

House Of Rugs

A CLAY LANGUAGE

The young, contemporary ceramicist on her process – every planned and unplanned detail of it.

Characterized by a larger than life synopsis, Astrid Dahl creates ceramic works of sculptural abstraction, inspired by botanical beauty and the magnificence of scale. Working from an isolated farm in Kwa-Zulu Natal Midlands of South Africa, Astrid is drawn to the material in its truest form – clay.

Read on as we discover the ceramicist’s artistic process, the inspiration behind her works, and how the simplicity of white clay is the perfect medium for the dramatic shapes, light, and shadow that she plays with.

1. What led you into working with ceramics? Are you self-taught or have you gleaned the art from someone?

My love for working with clay and creating forms began at the Technikon Natal in 1995, when I met my ceramics lecturer, Hendrik Stroebel. I recall one session in particular, when a group of Zulu women came in to teach us the traditional method of coiling clay — that was when I truly found my vocabulary. I moved to Nottingham Road in the Midlands of KwaZulu Natal, to take up work in a bronze casting foundry. There I crossed paths with the ‘design guru’ Neville Trickett, who introduced me to the work of German photographer Karl Blossfeldt (1865-1932). Taking my cue from Blossfeldt’s monochromatic prints, I decided to work with white clay, as it creates a pure canvas on which light and shadow can “shape” the piece.

The process of coiling from the bottom up, creates an exciting challenge where one must work with (or against!) balance, tension, gravity — all of which magnify the incredible beauty and potential of form.

2. Which materials fascinate you the most, except for clay? Are there any that you have not worked with but would like to try out?

A big dream for me would be to learn the art of glassblowing. The translucency of the material, the variety of color, working with that heat and changing the state of glass to various stages of molten states. Wow!

3. How would you describe the creative scene in the Midlands? How does it impact your work?

I don't think it's necessarily the "creativeness" in the Midlands but creativeness as a whole, here in South Africa, that is inspiring in its diversity and brilliance of craft and skill that keeps me wanting to produce work that is extraordinary, unique and fresh.

4. To what extent do you plan your designs and to what extent are they the result of natural chances?

At the moment, I am trying to work on a subconscious level, a dialogue translating in form, proportion, beauty - the language that is communicated by the artist and her medium.

OUR FAVOURITE WORKS BY THE ARTIST

GET INSPIRED BY THE ARTIST’S STYLE AND

SHOP OUR PICKS BELOW