Interview with Vancouver based Ceramic Artist, Maggie Boyd

Who are you?
Easy one! Maggie. NEXT!

What do you create, and what are your tools and processes?
I make ceramics that people use - tumblers, mugs, planters, bowls, etc; ceramics that people look at - sculptures; and drawings and prints. My tools are clay, ink, my hands, my brain, my kiln, my wheel, a table, my computer helps too, I guess. My process involves working with simple (usually, but not always) thrown forms and jazzing them up with colour blasts or my desire to draw on everything. 

What inspires you?
Patterns, Mother Nature (fave artist), movement, colour, kids, grown-ups, chandeliers, animals, mountains, contemporary dance, free-jazz trumpet blasts, poetry, flowers, clay, lines, most paintings, most creative acts, kindness, death, absurdity, friendship, fabric, meditating, podcasts, teaching, pop-music, and delicious food.

Where is your studio?
Located in Chinatown, Vancouver, British Columbia, Canada, North America, Earth.

When are you most productive?
Mornings and afternoons, 100%. Also when my studio is orderly. Also when I have a deadline. Also when the perfect music to suit my task is playing.

Why Ceramics?
I don't know if I have a definitive answer but I can guess at a couple of things that may be along the lines of a response:
1. I have been thinking about, and anticipating, the post-apocalyptic days since I was young and knowing that I don't have the steely resolve to be the run the slaughterhouse should it come to that, I elected for a more peaceful, productive, and yet just as necessary craft. I even have a kick wheel that we can use if the power goes out for good.
2. When I first was introduced to clay in art school my hands felt smart, if that makes any sense? And it's proven useful because to work with clay, one's timing and intuition have to be very tuned-in to maintain high standards of craftsmanship.

How did you get your start?
I don't think I can remember a time where I wasn't always drawing and making things. But as far as formal training, it all started way back in art school under the guidance of the amazingly talented Sarah Coote, who in my second year hired me as a ceramics studio technician for Langara College. I then spent almost all of my waking hours tending to kilns, mixing glazes, scraping kiln shelves, mixing clays, lifting heavy stuff and somehow getting my homework done. After that I went to NSCAD in Halifax and became what is known in the biz as a Bachelor of Fine Art. 

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