Stories
Exclusive Interview with New Orleans Ceramicist Aurora Daigle | Part 2
In the second part of our exclusive interview with New Orleans ceramicist Aurora Daigle, we delve deeper into her creative process and the inspiration behind her work. Aurora opens up about the delicate balance she maintains between commercial projects and personal experimentation, sharing insights into her collaborations, including a meaningful partnership with the Swedish brand A Day’s March.
Through her unique blend of traditional techniques and natural materials, Aurora’s ceramics not only reflect her artistic philosophy but also embody her mission to restore connections between self, others, and the earth. Join us as we explore the artistry and intentionality that define Aurora’s practice.
PART 1: Exclusive Interview with New Orleans Ceramicist Aurora Daigle
How do you balance commercial projects with personal, more experimental ones?
I determine which projects align most closely with my artistic vision, career goals, and financial needs. I develop a schedule or timeline that allows me to dedicate time to both commercial work and my personal projects. I have found that it is very important to advocate for myself as an artist by clearly communicating my boundaries, timelines, deliverables, and expectations for each project with clients or collaborators.
It’s important to ensure they understand my availability and commitment to maintaining artistic integrity. Commercial projects and collaborations are exciting because they have allowed me the opportunity to be experimental and learn a lot through the integration of new techniques, ideas, or themes, which can fuel inspiration and enrich both spheres of my creative process. I enjoy remaining adaptable to changes and building a diverse portfolio that reflects my unique artistic voice.
Can you share the story behind your collaboration with A Day’s March? How did this partnership come about?
I feel incredibly fortunate in this life, surrounded by loving friends and family. The collaboration with A Day’s March was born from a shared vision with a dear friend. We began hosting dinners with the intention of fostering community and deepening connections.
Our goal was to create a space where people could gather intentionally around handmade food served on handcrafted ceramic plates and cups, forging bonds through shared meals in a beautiful setting.
Chevy Wolf, my biggest supporter and closest friend, played a pivotal role in making this vision a reality. His enthusiasm and belief in our idea helped bring our collaboration with A Day’s March to fruition.
How do you integrate both your personal style and the brand’s identity into your custom plate designs for A Day’s March?
Collaboration and cooperation are skills that many people aren’t open to accepting, but I believe beautiful things are birthed out of that kind of spontaneity and meeting; it requires good communication and flexibility.
You’ve worked with various printmaking and painting processes. How do these techniques complement your ceramic work, and do you ever combine them?
I have started to experiment with relief carving on my ceramic pieces, and I am really happy with the results. There is endless learning and experimentation within the world of ceramics, and I love learning and exploration, so I will never get bored. I am a continuous life-long learner.
Your practice often involves natural and found materials. How do these elements influence your ceramic work, and were they incorporated into the custom plates?
Natural and found objects play a significant role in shaping my ceramic creations. Working with natural materials is fundamental to my artistic process as it connects me deeply to the earth. I find inspiration in the textures and forms of natural elements, often mirroring them in my ceramic pieces. My discoveries in nature awe and influence me profoundly.
When I considered the collaboration with the brand and designing the plates, my thoughts naturally gravitated towards Sweden’s landscapes, waterways, and cultural traditions. Researching Swedish folk designs immersed me in their depiction of the natural world’s beauty, echoing the experiences one might encounter in Sweden. Our experimentation with cobalt blue, a natural element with a rich history in ceramics and pottery, further enriched the thematic connection to natural elements within the custom plates.
You’ve studied both sculpture and creative art therapy. How do these disciplines inform your approach to ceramics and your artistic philosophy?
My art practice serves as a ritual of self-return—a way to nurture my mind’s garden, reconnect with ancestors and ancient customs, and embrace the unfolding of time with both simplicity and complexity. It’s about meeting each creation with gentleness, compassion, and authenticity, allowing them to evolve naturally. Working with clay feels akin to engaging in a dialogue with a living entity; through my fingertips, I sense its emergence and purpose, guiding its journey into being.
This approach mirrors the therapeutic relationships I foster in creative arts therapy. It has taught me grace in my artistic endeavors, silencing the internal perfectionist voice. I believe our art reflects our inner landscapes; my pieces transport me to a realm where I feel deeply interconnected with the natural world.
They echo a time of earth goddess religions, where ceremonies and artifacts held feminine power, now often overlooked or degraded. Through my work, I aim to revive and celebrate these lost narratives, offering a glimpse into a world both ancient and imagined, where women once lived in harmony with their essence, untouched by the oppression of their power.
Your work aims to restore relationships with self, others, and the earth. How does this mission manifest in your ceramics and other artworks?
Ceramics has been a profound connector for me within communities of women, and I envision this connection deepening as I embark on future artistic endeavors that allow for travel and exploration. Recently, I was gifted wild clay by two friends who collected it during their time spent in nature. These beautifully colored earth samples now entrust me with their potential, and I am eagerly preparing to process and incorporate them into my work.
Looking ahead, my plans include facilitating group therapeutic clay sessions or “clay ceremonies.” As both an art therapist and ceramic artist, these sessions offer a powerful opportunity for people to come together in community. They can experience the therapeutic benefits of working with clay in a safe and nurturing environment, fostering healing and connection.
In both my ceramics and therapeutic practice, the mission to restore relationships—whether with oneself, others, or the earth—guides my creative process and intentions. Each piece and session is a testament to the transformative power of art in fostering deeper understanding and connection within ourselves and our communities.
Part 3 is Coming Soon!
Interview organized by Chevy Wolf. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Exclusive Interview with New Orleans Ceramicist Aurora Daigle | Part 2 appeared first on World Art News.