Natalie Hellmann, a wonderful ceramist and person, is holding her MFA Thesis Exhibition this month. She has been an absolute joy to work with over the last three years, and I know I’ve learned much that I would never have known if not for our discussions.
Aarik Danielsen talks to Natalie about her trajectory as an artist in this feature in the Columbia Daily Tribune.
And here’s a link to a shorter article about her and her show.
I was asked a number of questions about Natalie and her work for that short article. Obviously space didn’t permit them to publish all of my thoughts, so I want to include them here as a way to honor Natalie.
Interview Question: “What do you enjoy most about her growth as an artist since you’ve met her? How has she grown?”
My response: “I am most impressed with how Natalie has held onto the core things she has cared about for many years while at the same time found ways to grow in her understanding of the materials and integrated relationships of form, content, and emotion with which she has worked while in grad school. Practically, this means that she has made numerous attempts to invest her project with fresh investigations, often working with different forms, structures (and orientations of these two) in order to determine what felt right. In many ways what she presents in this Thesis work seems inevitable, as if it all just had to be. But this is not the case. Natalie has studied her own work and intuitive expressions while also looking to other artists, writers, and philosophers who seek poetical understandings of human experience rather than just rational, direct, closed meanings in that experience. Natalie’s work is thus not meant to function as didactic communication first and foremost. Instead, it has grown to become a kind of emotional sounding board, wherein viewers may, if they are inclined, examine themselves via the suggestions of the forms. The work is more about awareness of being than declaring some specific message. I enjoy the fact that I got to participate in her exploration, be around her welcoming spirit, and grow in my own apprehension of what art can do through my time with her. ”
Interview Question: “What do you think her viewers are going to enjoy most from her exhibition this coming week?”
My response: “I think that viewers who allow themselves to intuitively consider the objects and arrangements in Natalie’s show will find a resonance in their own past experiences of feeling, seeing and being. What I mean is that, to me, the strength of Natalie’s work has always been in its gentle invitation to participate in awareness and emotional connection to shapes, colors, and surfaces. Being with Natalie’s artworks is something akin to standing by a stream and looking at the smoothed stones beneath the undulating water – if you’re in the right frame of mind, your emotional and psychological experience can become one of calm awareness. I think that’s the “repose” that Natalie suggests in the title for her exhibition. I hope that viewers will both experience and appreciate that quietude and tenderness; it’s something not often seen in art.”
Thank you, Natalie, for your work, your spirit, and your presence.