How to hold, how to carry, and how to care, was made during the 2020 lockdown using make-do textiles and clay material to hand.

For this sculptural work, clay is compressed, gently urging the plastic material into a figurative ‘tree-like’ form. Likewise, basket’ forms have indexical marks of both the process of making and are true to the maker's touch. Terra sigillata, an ancient ceramic technique imbues a soft, ‘skin-like’ finish to the ceramic surface. Ragbag textiles, well-loved and worn out by the artist’s family have been shredded, stitched, and woven into a new garment that caresses and protects. The artist acknowledges the Maparu Arnhem Weavers and the Djanpi Desert Weavers for their developing skills in fibre and fabric weaving.

This work is intimately associated with growth and the maternal experience. It references female, collaborative experiences and reminds us of our human connection to trees and nature.

Using ‘hand sense’ and ‘attuned focus’, Robyn engages in dialogue around materiality, process, time, and affect found at her various making sites. Robyn’s sculptures and installations seek to experience the world as embodied and connected. From this perspective, she folds making, teaching and collaboration to realise the potential of contemporary ceramics.

Working respectfully on the lands of the Wurundjeri and Taungurung peoples, Robyn Phelan’s artwork is grounded in studio ceramics and encompasses sculpture, drawing, writing, photography, and installation practices.

Robyn received her PhD (2024) in the field of contemporary craft and material research from RMIT University. She has exhibited widely in Australian museums and galleries, currently lecturing in ceramics, history and cultures and professional practice in the School of Art, RMIT University. She mentors in ceramics at the Slow Clay Centre. Robyn has been writing and participating critically in contemporary art and craft since 1997.

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