Tina Vlassopulos

Ceramicist

©Mike Abrahams

The ceramics that dance

Tina is an internationally known ceramic artist
She creates her pieces with hand building techniques
Her inspiration comes from movement and dance

There was a time, at the very beginning of her professional journey in the late 1970s, when Tina Vlassopulos was not so sure whether she should continue with ceramics or not. But then she took part in an exhibition in London, and Jean Muir, the fashion designer, bought three of her pieces. “I knew then, that I should not give up,” Tina says. She was right. Nowadays, she has become an internationally acclaimed artist, well known for her hand built ceramic sculptures. Her creations are distinctive and unique, characterised by sinuous and elegant lines. Tina says her inspiration comes from city life, from the performing arts especially, contemporary dance, ballet and opera. “Attending a live performance unlocks my creativity and allows me the time to freely roam around in my imagination,” she explains.

Interview

©Mike Abrahams

©Mike Abrahams

Are your creations sculptures or everyday objects?: I never know what to call them. They are not functional, so I suppose you could call them sculptures, but because they are made out of clay, which is a humble material, I hope they are unassuming. It is such a privilege to make things and hopefully what I produce gives other people pleasure.
How would you define your style?: It is very difficult to define it, as it does not seem to fit into any genre. I am more interested in form rather than function and I am not particularly keen on the technical side of things. The technique I use simplifies the making process, so I can concentrate on the ideas.
Can you describe your technique?: I use clay straight out of the bag or mix a pigment into it, and start creating. It is all made by hand building using coils, soft-slabbing and pinching. I refine the pieces by scraping the surface with a surform blade, metal kidneys and wooden ribs, then I burnish them with metal spoons. Finally I fire to 680ºC in an electric kiln.
What do you like the most and which is the hardest part?: I usually construct my pieces very quickly: that is the exciting part and what gives them movement. Burnishing, on the other hand, needs a lot of concentration, as the piece is quite fragile at this point and can easily crack or break.

Tina Vlassopulos are master artisans: they began their career in 1978 and they started teaching in 1980