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Photo taker at our annual pit-firing event.

Through a tactile exploration of clay, I blend artisanal knowhow with spontaneity and the aleatory effects of ceramic firings. In an increasingly distracting and dehumanising world, I seek to cultivate attentiveness and to reveal a human presence in every object I make. Rounded almost bodily forms (bellies and thighs) with comforting surfaces, are made to be held and to behold. Tilted or off-centred elements introduce subtle movement and slight tensions, suggesting a gentle sense of swing, rhythm or play. Figurative details offer a discreet nod to surrealism.

Pit and raku firings occupy a central place in my practice. These are both ritual moments and spaces for experimentation, where controlled technique is seasoned with the whims of a singular firing atmosphere. Nature becomes a creative partner and delicately crafted objects emerge altered in ways that cannot be fully anticipated.

This process means ceding total control and rejecting expectations in favour of embracing surprise. For me, this is not about passive acceptance, but a matter of remaining focused and attentive to what truly emerges. In a context where we are constantly solicited and nudged to readjust and conform, this attentiveness and celebration of the unexpected resists conformity.

Firing sessions are participatory moments, carried out with the studio Fire-Master, during which hours of preparation are devoted to orchestrating the conditions of a successful firing, while invoking gods we do not believe in.

BIO

Originally from Devon, I studied in Montpellier completing a Masters degree in History of Contemporary Art and a degree in Fine Art. My early work focused on plaster and resin but also performance and installation work in duo with Alain Mombrini. I enriched my ceramic practice with specialist training including glaze research at Institut Européen des Arts Céramiques, and porcelain masterclasses with Ilona Romule at International Ceramics Studio in Hungary. It has also been shaped by singular experiences such as pit-firing with Joel Bennett in California and visits to potteries in Ghana, particularly Peace and Unity Pottery, where Michael Cardew’s kiln still stands.

I established Helen Green Ceramix clay studio in 2015 as a space for making, research and exchange. I have made prototypes, concocted glazes from raw materials and built kilns. Alongside studio production and collaborations, I teach in a variety of contexts and have accompanied other artists in their ceramic projects, developed group workshops and private lessons which are recommended by The Michel Angelo Foundation in their Homo Faber Guide. This pedagogical dimension extends into institutional and associative contexts, including Ecole Supérieure des Beaux arts de Montpellier and Association Valentin Haüy. I am also co-founder and co-president of Céramistes en Pic Saint Loup.