Ceramics Art Works -Kylie Marden
We’ll be highlighting staff and faculty artists throughout the year. Kylie is a Ceramics Technician and Teacher at the New Art Center.
After receiving a BFA in ceramics from Massachusetts College of Art and Design, Kylie led a student-organized group centered around food justice and community partnerships. Since graduating, she has been the 2024 recipient of the William Wyman Fellowship, as well as teaching and becoming a technician in the New Art and other art institutes.
She likes to demonstrate various techniques to her students and asks them to dream big, focusing on ‘what can you make with the skills you just learned’.
You can follow Kylie on Instagram: @ Kyliemceramics
Can you share your journey into ceramics? What initially sparked your interest in the medium, and how did you develop your skills?
Growing up, my whole life was steeped in art – Ceramics felt like a natural course for me. My first formal introduction to clay was when I was about 15; my high school had a wonderful ceramics program, where I fell in love with pottery. My interest in ceramics came by surprise, as I was randomly placed into a class and never looked back. I was instantly drawn to the lasting nature of ceramics, and the transformation from clay into a finished object.
After taking as many clay classes as I possibly could at my high school, I went on to attend Massachusetts College of Art and Design, where I received my Bachelor of Fine Arts in Ceramics. With the help of incredible instructors and staff, I saw my voice and aesthetic begin to develop. During my time at Massachusetts College of Art and Design, I went on to receive the William Wyman Fellowship to attend Haystack Mountain School of Craft, where I further developed my practice as a studio artist.
Ceramics is such a hands-on medium. How do you encourage students to embrace both the technical aspects and the creative possibilities of clay?
Clay is a powerful tool for reflection and problem-solving, you can make almost anything you can imagine with the right techniques. I encourage my students to investigate through experimentation, and observation, and use their environment to spark creativity. I like to demonstrate techniques and ask my students to dream big– what can you make with the skills you just learned? What excites you? It’s important for learners of all ages to have a sense of agency in their creative vision, as an instructor my role is to support them in turning their ideas into ceramic forms.
Is there a particular theme or story that tends to emerge in your own ceramic work? How do you develop these ideas in your practice?
I’m always interested in my environment– the bustle of routine can oftentimes distract from what’s right in front of us. I find fondness in strangers on the train, patterns on the sidewalk, and the neighborhood cats that follow me home. My ideas and illustrations often start with a reference photo or sketch, something that I see on my commute that resonates with me. I’m interested in the way we interact with the world around us. I play with scale and depth and place both sculpturally and visually. More often than not, stray cats will slink onto my pots – adorned with a background of architecture and cityscapes. Sometimes they drive cars, hop from buildings, or talk earnestly with fish. I want to take passing moments of my day and transform them into stories that unfold differently for each viewer.
What advice would you give to someone just starting in ceramics? Are there any common misconceptions you’d like to clear up for beginners?
There’s always enough room for what you want to make, and what you want to say. The biggest misconception I see with new students is that our pots need to be “perfect.” I love to remind my students that the best pots are the ones that feel handmade. Anyone can buy a set of mugs from the store, but a handmade set can be invaluable, sentimental, and a work of art. I like to remind students that so much learning happens before an object is “complete.” Trying something new, stepping out of your comfort zone – that’s the hard part, the rest is practice.
Can you share a memorable moment or project from your teaching experience that made you feel proud of your student’s progress or creativity?
It’s hard to name just one! Each time a student centers their clay for the first time or sees their work glazed and out of the kiln, the sparkle in their eye never disappoints. I often encourage my younger students to draw their ideas out on paper, and then use them as inspiration for their clay projects. I feel so proud to see these drawings come to life in clay, with my students applying new techniques to their own vision! I oftentimes will bring in reference images from nature; butterflies, insects, leaves, and more– students will pick out interesting textures and translate them into clay forms. I am always delighted to see how each maker builds off the reference image to create something original and beautiful!
Is there a particular part of the ceramics process (throwing, glazing, firing, etc.) that you find most fulfilling or that you think students often overlook?
As an illustrator, I’m particularly fond of surface design on ceramics. While illustrative techniques on clay can seem intimidating, I love the way an object can transform with a decorated surface. I love to take the time to show students techniques like sgraffito, mishima, slip trailing, and carving. Not only are these techniques beautiful, they are deeply immersive and soothing. I can spend hours carving into a pot, or drawing on a plate!
What’s the most surprising thing you’ve learned about yourself through your work as a ceramics teacher?
In my time working at New Art, I am reminded how mutually beneficial art education is– I learn just as much from my students as they learn from me. Each student comes to the classroom with a different perspective and skill set. While working collaboratively in class, I have learned to think outside the box to make lesson plans engaging for all my students, which is something I am grateful for every day. Self-expression is vulnerable, challenging, and deeply rewarding. If I can guide my students to find their voice or to express their individuality, it’s an invaluable experience for both of us.
