Frances Palmer
Meet Frances Palmer, a self taught potter, photographer, and gardener who has been living and working in Weston, Connecticut for over 35 years. Her days are spent creating between her barn-housed studio, her 1850’s federal house and her two cutting gardens which deeply inspire her work. In our 16th edition of Cultivating Conversations, we spoke with Frances about the curiosity that drove her to become an artist, her creative process, and her magical transformation of a tennis court turned garden.
WHEN DID YOU BEGIN WORKING WITH CERAMICS?
I began making ceramics after our daughter was born and we moved to Connecticut full time from New York City.
“I wished to find a métier that I could develop and work from home while my children were young.”
DID YOU ALWAYS KNOW YOU WANTED TO BE AN ARTIST?
Yes, I began making art at an early age and in high school, planned to be a printmaker. Although I was accepted at several college art schools, I decided that I would always make art and wanted to get a more liberal arts education. Therefore, I ended up at Barnard and Columbia University and studied art history.
HOW HAS YOUR WORK EVOLVED FROM WHEN YOU FIRST TOOK UP THE WHEEL TO NOW?
“I am constantly exploring and refining shapes.”
I continue to learn new technical information, clays, glazes and firing strategies. I think my ability to articulate ideas has evolved over the years by working practically every day in the studio and constantly reading.
YOU’RE A PASSIONATE GARDENER AND MUCH OF YOUR
WORK INCLUDES VASES AND BOWLS TO DISPLAY FLORALS.
CAN YOU SHARE YOUR GARDENING STYLE WITH US?
Everything that I grow is selected for cutting, being placed in a vase or bowl and then photographed. This includes trees, shrubs, herbs, perennials, annuals, bulbs, corms and tubers.
“Although the gardens are chaotically beautiful, they are designed for function and not display.”
YOU’RE KNOWN FOR TRANSFORMING A TENNIS COURT INTO
A LUSH GARDEN OASIS. HOW DID THAT COME ABOUT?
Many houses in our area now put fencing around their property to keep out animals. Our place is open and consequently we have a large colony of deer that graze daily. I have to put the flowers inside fenced areas so that they aren’t eaten. We built the first round garden immediately after moving in, however, after several years, I wanted more space for growing. Our tennis court was originally built in the 1930’s and although we had had it resurfaced and fenced when we moved in, we are not tennis players. My husband suggested I repurpose the court and over time, I’ve built 30 raised beds.
“The court has cracks and wonderful surprises grow out of them every year.”
WHEN DID YOU BRANCH OUT FROM VASES INTO
DISHWARE AND OTHER HOUSEHOLD ITEMS?
Many early pottery commissions were for dinner services and it was time consuming to produce the dishes by hand. In 2003, I had the idea to ask the Niagara Ceramics Factory in Buffalo, New York if they would manufacture a collection of restaurant china from my designs. The dishes were very durable. Unfortunately, the company went out of business in 2013 and they are no longer available. In 2017, I approached 1882ltd. in Stoke on Trent, UK to do a set of creamware plates and bowls from my prototypes. These are currently available through my website.
“I still make hand made plates and bowls but the 1882ltd. hand cast pieces are more reasonably priced.”
DO THE SEASONS PLAY A ROLE IN YOUR WORK?
Very much so. Living in New England, the seasons are pivotal. There is a beautiful flow of flowers that start in early spring and moving through to December.
“I often make shapes to feature a flower that I know is about to bloom.”
AS SOMEONE WITH A PASSION FOR THE NATURAL WORLD ARE THERE ANY SUSTAINABLE OR ECO–FRIENDLY PRACTICES TO KEEP IN MIND WHEN WORKING WITH CERAMICS?
I recycle clay as much as possible and work with non toxic chemicals in my glazes. I use cloth towels and aprons that are rewashed frequently and keep the studio clean with good air circulation.
© Jane Beiles
YOU WORK WITH A NUMBER OF MATERIALS, FROM PORCELAIN TO TERRACOTTA. DO YOU HAVE A PREFERENCE? HOW DOES EACH INDIVIDUAL MATERIAL AFFECT YOUR WORK?
I do love working with the high fire translucent porcelain, but enjoy the other clay bodies as they are useful for different kinds of shapes. Each clay requires a special approach and I embrace working with them on their own terms.
AFTER DECADES OF WORKING AS AN ARTIST, HOW DO YOU KEEP INSPIRED AND CONTINUE TO CREATE AND INNOVATE YOUR DESIGNS?
“New commissions keep me inspired and innovating.”
Looking at art often in museums and galleries and reading continually gives me lots of ideas and fresh directions.
ARE THERE PAST OR MODERN DAY CERAMICISTS THAT INSPIRE YOU?
“As an art historian, I study many ceramic styles over the centuries.”
From the Cycladic and Etruscan periods to contemporary makers. I especially admire the work of Lucie Rie, Warren McKenzie and George Ohr.
HOW DOES PHOTOGRAPHY PLAY A ROLE IN YOUR WORK?
My husband taught me how to use a camera when we first met. When I learned ceramics, I determined that I would make functional work, which then would be purchased and go out into the world. From the start, I used photography to document the pots when they were finished so that I had a record of what was made and shipped. As the years went by, I studied more and more how to use the camera to craft the photos.
HOW HAS SOCIAL MEDIA PLAYED A ROLE IN YOUR WORK?
Social media has given me a wonderfully wide audience. I was making the work, gardening and photographing anyway.
“having the opportunity to post images to a larger community has made a difference in my business.”
HAVE ANY PARTNERSHIPS OR EXCITING CONNECTIONS BEEN FORGED THROUGH YOUR SOCIAL MEDIA PRESENCE?
Yes, I have been approached for different collaborations from people and companies seeing my work on Instagram. I have been working on several collections with Moda Operandi and have a couple of upcoming projects for the Spring and Summer.
YOU WROTE A BOOK TITLED LIFE IN THE STUDIO: INSPIRATION AND LESSONS ON CREATIVITY. HOW DIFFERENT A CHALLENGE WAS THIS FROM YOUR DAY TO DAY STUDIO WORK?
“Writing a book was an exciting challenge.”
I also had two wonderful editors who encouraged me throughout the process. I had to carve out time to work on it from my usual studio schedule but I had a deadline, which I always find helpful.
DO YOU HAVE ANY ADVICE FOR BUDDING ARTISTS?
“Be patient, as anything worthwhile takes time to develop.”
Work every day and do not take beginning efforts as failure. Everything is a journey – as corny as that sounds.
WHAT’S NEXT FOR YOU?
I have a number of upcoming exhibitions for 2022 including an exhibition at Stonecrop Gardens in April 2022 and I will be a keynote speaker at the Slow Flower Summit in June 2022.
© All Photo Credit via Frances Palmer