BIOGRAPHY

After accidentally falling in love with clay while working on an AA at Front Range Community College in the 1990’s (oops!), Lisa went on to study ceramics around the country where she found programs that best suited her interests. She earned two degrees with a focus in ceramics; first a BFA at the University of Wisconsin where she was able to fire lots of pots in atmospheric kilns, and later a MFA at San Diego State University where she became enamored with using more color, images, and exploring sculpture. 

In 2010 Lisa returned to her home state and moved to the Roaring Fork valley to participate in the artist-in-residence program at the Carbondale Clay Center for a year, knowing that she would want to stay in the Rockies.  She has taught classes at the C.C.C., as well as at Colorado Mountain College in Aspen periodically. Her studio is at S.A.W. (Studio for Arts & Works) in Carbondale.

Lisa loves making pots that add to the fun of sharing something special, or provide a unique element to ponder during an ordinary moment of calm with a cup of hot tea or morning coffee. These pots are meant to enhance life's little moments, and support personal connections; things that help ground us in our special places and daily routines.  

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Q&A WITH THE ARTIST

Carbondale Clay Center (CCC): What’s some tips and tricks for making your favorite beverage?

Lisa Ellena (LE): I've been really enjoying making Chai from whole spices when it's cold out, but I don't always want to stick around in the kitchen for a 15-20 minute simmer. So, I'll put the spices into a brew basket in my Yeti tumbler and cover with freshly boiled water for a long hot soak. Once it's done, I will then pour the brewed tea into my ceramic cup for savoring. If your handmade vessel doesn't have a handle, hold it by the foot and rim when hot!

CCC: Where does your creative process begin (i.e. sketchbook, specific routine, image reference, etc.)? What considerations do you think about when creating drinking vessels?

LE: My favorite forms are cups, mugs, tumblers, anything you can drink out of! I’ve always loved how they are more intimately used than other pots, and can become integral parts of every day routines. I drink lots of tea throughout each day and I think mostly about design and confort. I typically work from an informal place, referencing my own life, routines, and interests although I do sometimes take interest in a thematic or historical reference.

CCC: Do you have a certain type of vessel that you prefer to drink from? Does it vary based on the beverage?

LE: My most common choice is a big mug or tumbler, to accommodate the ridiculous amounts of tea and water I drink daily. I will go with a small cup for wine, and a shot glass for sips of kefir or sake. I have a cupboard overflowing with ceramic cups, so I mix it up daily.

CCC: When creating a mug, I often hear about the detail and time taken for the handle. Do you have a handle size and type that you prefer to use? Why? Does that directly inform your creative process?

LE: Usually I prefer a handle that is big enough for at least two fingers if not more. I love pulling handles directly off the wet pot, where I stretch out a “carrot” of clay using water until it is flat and long enough. I like this method so that I can fit the handle to the shape of each pot as I go, and it creates a very fluid and comfy handle. It took a lot of practice to learn how to make this style of handle, but now they are a joy to make!

CCC: What makes handmade pottery unique to you? Why use a handmade object to sip your coffee, tea, water, etc.?

LE: I can imagine a future where we all use the same exact mass produced mugs, wear the same uniforms, etc., and it’s really boring!! One thing that keeps life interesting and keeps my sense of wonder active is noticing small details. Those details can be in nature, handmade objects, science, cooking… For me, it’s infinitely fun to see the variations in each pot, from each maker, come to life in the way a handle is applied, color is added, a mark is made, or a rim is fashioned.  

CCC: What influences your pots? What are you looking at or thinking about when making specific beverageware?

LE: Tea is a major influencer in my life, although I also love thinking about other beverages too… they all offer fun puzzles to solve. I miss community events where visitors would come to the studio, and they would often give me the best ideas for what to make next!

CCC: Is there a certain type of drinking vessel that you prefer making? Or one that seems to always be sought after by customers?

LE: I have a hard time keeping big mugs around for long, but I love making all sorts of drinking vessels so I mix up each kiln load. A few years ago I had a request for a large tumbler, and it made me wonder why I hadn’t been making them all along! How do you define art within your functional pottery? Do you consider pottery to be a form of art?

CCC: How do you define art within your functional pottery? Do you consider pottery to be a form of art?

LE: Pottery is such a diverse field! I often think about how terminology changes over time, and at one point sculptors that used clay were called potters, even if they never made “pots”. Now, sculptors can work with clay, and potters are people that make pots, but the “art” of a pot can be it’s function, or a functional form can be a vehicle for other art ideas or expressions personal to the artist. Just the idea of a pot can also be art, even if it’s not functional or even 3 dimensional. I love to play with all these thoughts, but when I make work I generally just make whatever is interesting to me at the time. Often times it’s pottery, sometimes it’s something else. 

CCC: When creating pottery, do you work in a series or body of work? At what point do you transition from one series to another?

LE: I always work in a series, it’s more efficient with clay. It’s helps keep costs down when I can fire a full kiln, but also I get more opportunities to try little variations when I work on a series. Sometimes a series can get explored for a long time, and other times it peters out quickly. 

CCC: What keeps you inspired in the studio?

LE: Finding the time to explore new ideas and enjoy the material is key for me. Also seeing other ceramists work is always inspiring, which is part of why I love group exhibitions. 

CCC: How do color, surface, and form influence your work? Does each of those design elements play equal roles in your making process? Is one emphasized over others?

LE: Typically I try to find harmony in the way the forms meet color or applied imagery, texture, or other design elements. There are definitely cycles with my attention span. Sometimes I’ll want to try a new color, other times a new form. When I started out with clay, I used a very limited color pallet and a wood kiln to naturally finish the surfaces of my work, but my interests have evolved a lot over the years. Now I use a lot colors, but in a minimal way, or in fun drawings on minimal backgrounds. It’s always evolving!