Page 53 - Winter Issue

Eve Finley Miller
with
Interdisciplinary artist from Leeds

Your work spans multiple mediums, from ceramic sculpture to immersive installations. What draws you
to such diverse forms of expression, and how do you balance them?
Part of the reason I work through many different media is that I get an idea in my head, and it becomes like an “idea
worm.” I can’t stop thinking about how I could create that idea. It’s not a matter of thinking, “This is the medium I have,
so what can I make from it?” Instead, I start with a concept that could be sparked by an interaction, a radio program,
something I’ve read, a color, or a sound, and then I think about how I can translate that into a piece of art. Working this
way can be challenging, as it stretches my resources, but it also allows me to challenge myself and the viewer by showing
different materials and ways of making. This approach naturally leads to immersive installations, which help me bring
all my ideas together and fully immerse the viewer in my world. My creative practice is about incorporating different
elements I’ve been developing. For example, I often work in clay because it is a versatile medium that can be molded,
shaped, and transformed from soft and malleable to something hard and heavy. I can also transition into painting by
applying painting techniques to my ceramic sculptures, or create multiple ceramic pieces that build upon one another.
All these elements come together to communicate my ideas.
What is it about clay that resonates with you, and how do you think it helps you bring your ideas to life?
I like working with clay because of its transitional materiality. It changes from something soft and malleable to
something solid, heavy, and permanent. Clay also undergoes a transformative process during firing, where you can’t see
the colors you’re working with until after it’s fired. I find this both challenging and exciting because sometimes my work
surprises me—it turns out slightly different than I expected. Clay also helps bring my ideas to life because I can sculpt
abstract forms. I can create something architectural, with straight lines, or something organic, with soft, rounded
shapes. Applying glazes further adds to the effect, allowing me to explore different finishes, like a glaze that makes a
piece feel otherworldly—something you might imagine seeing on another planet.
Can you elaborate on how you choose colors and how you think they impact your viewers?
Color is really important to me because of its emotional significance. I often associate specific colors with people or
memories. For example, I’m drawn to electric blues because they remind me of my mum, who wears blue a lot. During
the Covid lockdowns, when I couldn’t see her, blue became a comforting color. I’m also attracted to bright, punchy
oranges because orange reminds me of my partner. As I grew in my relationship with him, orange became a more
prominent color in my work. Color plays with emotional links for me, and I hope that when viewers see certain colors, it
sparks something personal for them—perhaps reminding them of a loved one, a specific time of day, or a season.
You often incorporate light and sound into your installations, creating immersive experiences. What role
do these sensory elements play in shaping the viewer’s interaction with your work?
I enjoy working with light and sound because they help articulate my ideas and create a sensory experience for the
viewer. For me, when I have an idea, it’s not always something I can easily put into words, but more a feeling or a sense.
I work very instinctively and intuitively, and incorporating light and sound supports this way of working. It’s something I
want to develop more in the future. I believe that sensory elements enhance the viewer’s interaction with my work and
ensure that I’m communicating the essence of my ideas, which are often feelings or intangible concepts. Light and sound
can bring viewers into the space I’m creating—a space of peace or self-connection.

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