Today I’m continuing my series of interviews with independent designers and artists by talking to ceramicist Reesha Zubair, whose work has captivated me ever since I first stumbled across her Instagram page – in fact she featured in a ‘minimalist makers’ round-up on here not so long ago. Based just a few streets away from me in Bristol, southwest England, she hand-crafts stunning vessels that combine sculptural shapes, muted nature-inspired colours and tactile surfaces – the kind of pieces that grab your attention straight away, and that are a delight to look at and hold.
I recently had the joy of styling and photographing some of Reesha’s creations in my own home and was keen to find out more about the story behind them. So, last week I popped round to her studio to watch her at work and chat about how she got started with ceramics, where she finds her inspiration and how her work has evolved over the past couple of years…
Hi Reesha! Please can you start by telling us a bit about yourself?
“Of course! I’m 40 years old and mum to two lovely human beings. I’m originally from the Maldives but have lived in Bristol for the past 10 years. Bristol is home now.”
Have you always been creative?
“Not really. I have no design or creative background. My grandfather on my mum’s side and his family were very creative people, often working with crafts such as wood, shells and painting. But I never thought I had it in me until quite recently.”
How did you get started with ceramics?
“For many years I’d wanted to do something creative but didn’t quite know how to get started. I quit my job in HR management four years ago for family reasons and needed a change in my life. Around then I did a one-day workshop in hand-building with clay and instantly knew I had found my medium. I then did a six-month internship at a ceramics studio in Oxford, as well as other short courses learning how to throw and hand-build. I invested in a wheel when my internship finished and have been making with clay ever since.”
How would you describe your work? Has it evolved over the years?
“In the beginning I was very focused on making wheel-thrown pots and learning to throw various forms. My aim was to become proficient at throwing consistent shapes and sizes and so I ended up making a lot of tableware – tumblers, bowls, plates. I also used a lot of blues and greens, along with muted creams and greys, in my glazing.
“However, in the past couple of years – and especially since lockdown began – I’ve fallen in love with hand-building. I’ve moved away from wheel-throwing to fully focus on coiling and slab-building, and my recent vessels reflect this change.”
Where do you find inspiration for your pieces?
“My current hand-built work is informed by my relationships with women who have impacted and made an impression on my life. These impressions are expressed through forms, hues and textures, both in the making process and in the finishes I create. The ‘HAWWA’ and ‘SHAREEFA’ vessels, for example, are inspired by my grandmothers – two very different women but both with strong characters. I hope to make more pots in the future representing other women in my life.”
What does the creative process look like for you? Do you go through any particular rituals or stages?
“Often it starts with an idea or a feeling. I make notes, scribbles and sketches of how to translate it into clay and think about which shapes, textures and colours would best express it before I physically start making. Once a form is constructed, I like making marks and creating texture on the surfaces of the vessel, and then I either leave the clay raw or decorate it with slip and oxides before firing.
“Making pots, especially hand-building, takes time, and so patience is part of the process. There’s always a lot of trial and error. My work pattern and speed are quite irregular sometimes, and often linked to how motivated I feel. However, continuous practice is important.”
Do you have any personal favourites from your creations to date?
“Both my ‘HAWWA’ and ‘SHAREEFA’ vessels [below] hold a special place in my heart.”
Has your work changed over the course of this last strange year?
“The lockdown restrictions made it very hard to work in shared spaces, and although I was making pots in my garage, I wasn’t able to fire or finish any work for over six months. In August last year I finally set up my own studio and bought a kiln, so now I have a dedicated space where I can work independently. My work is quite solitary and I find I create better when I’m left on my own, so in some ways these strange times have helped me focus. It’s almost as if I’ve been neutralising the negatives with the positive energy I’m putting into my work.”
What’s next for you?
“I have some commissions that I’m working on and I’m also extending my existing collections for an exhibition in September. I’ll share more about it on social media in due course!”
Finally, do you have any words of advice for others who want to launch their own creative venture?
“I think there’s creativity in everyone – we just need to give it a chance to flourish. And creativity means different things to different people, so don’t limit yourself. Don’t be afraid to start or try something new, even if you think you’re too old for it – the ship hasn’t sailed yet!”
Great advice – thanks Reesha!
See more of Reesha’s beautiful work, and get updates on upcoming exhibitions and collections, via her website and Instagram profile.
All photography by Abi Dare
Beautiful work by Reesha
Isn’t it? Every piece she makes is gorgeous