Capturing natural forms in clay
- Lidia is constantly exploring the textures and structures of clay
- She has worked with ceramics masters in China
- Her work is 'inseparable' from the nature around her
Ceramicist, painter and product designer Lidia Boševski graduated from the textile department of the School of Applied Arts in Zagreb in 1979. She then went on to study textile and fashion design. In the early 1990s, Lidia’s focus was on painting combined with batik technique, but in 2002, her focus shifted towards product design, specifically ceramics. She first made a large bowl using clay that she had mixed with wheat. Because of the humidity of clay, the wheat sprouted. “It was a wonderful moment when I realised how much clay is alive,” she says. The opening of her new design and ceramics workshop Owl in 2005 enabled Lidia to develop new creative approaches and to engage in material and design research, drawing inspiration from nature.
INTERVIEW
I had been painting graphics for a long time. My husband, an architect, found a contest for a cup design and brought clay to make a prototype. From the moment I touched clay, I could not let it go.
Art was my intuitive choice from very early on. Clay really matches my creative sensibility. It is a living matter, incredibly supple, rich, powerful, tangible, flexible, inaccessible... exactly what I need.
My work is inseparable from the nature that surrounds me. I study and use structures, textures, shapes, local clay and additives, absolutely everything I see and think could be connected in some way to clay.
A memorable moment was my residency in Fuping, China. This was an art pottery village, where I had the opportunity to work with the masters of traditional Chinese ceramics, witness their skills, endless patience and 8,000 years of mastery.
1 EXPERIENCE
