Artist Interview with Australian Ceramicist Phoebe Turner

Phoebe Turner has always had something in her hands, from assemblages made from hard rubbish in her early twenties to fabric sculptures based on her son’s drawings. Four years ago she started working with clay, and she now makes hand built ceramic sculptures, many with an animal element, that usually begin as a simple pinch pot and take shape as she goes. Ahead of Secret Garden, her duo exhibition with Pia Kuykhoven at The Corner Store Gallery in Orange NSW, we asked Phoebe about her path to clay, her intuitive way of working and the hippo that started it all. Secret Garden runs from 23 October to 1 November 2026, with an opening night on Friday 23 October at 6pm with wine from See Saw Wines. Online sales launch on Thursday 22 October at 8pm.

Can you tell us a little about yourself and how you came to be an artist?  

I’ve always been a maker in one medium or another.  Always got something in my hands!  I made assemblages from hard rubbish in my early twenties and then went on to making fabric sculptures based on my son’s drawings when he was little.  My dad’s the same.  Always tinkering.  He was a ceramicist for a long time but now he paints and draws.   My day job is in mental health, so clay is a really nice way for me to unwind and process life.  I’ve been working with ceramics for four years now.  Still very new in the grand scheme of things, and feeling lucky to be very much in the experimental phase still.  I love nature and subscribe to the idea that we’re all going back to the earth someday, so might as well make the most of every moment.

How would you describe your work to someone seeing it for the first time, and where do you find inspiration for your work?

I’ve been told my work is naive and crude.  And I like that.  There’s definitely an innocence there.  When I sculpt, I don’t generally have a fixed idea of the outcome in mind.  I just go where my subconscious and the clay take me. I guess my inspiration comes from life and letting my inner child speak.  Most of my works have an animalistic element to them which speaks to my love of the natural world. As far as glazes go, I love to experiment with textures and handmade combinations.  Not every piece is a winner but it’s always a learning experience!

Can you walk us through your making process, from first idea to finished piece?

9 times out of 10 I start with a pinch pot and see what happens from there.  Sometimes the type of clay I’m using will dictate the shape and size of the piece (for example a clay with a lot of grog will hold its structure better than a smooth clay might).  I’ve found that if I let go of expectations, I can relax more and get into the flow of things.  Sometimes I’ll get to a point where I think I’ve made rubbish, and then I’ll keep pushing through, adding bits, and it ends up turning out beautifully.  After I’ve bisque fired a piece, I’ll sit with it in front of my glazes for a while and think about what colours it might like to wear.  Then I get to work!  After that’s done, and the second firing is complete, it’s ready for its new home.

Is there a piece in this exhibition that feels especially meaningful to you, and why?

That’s a tricky one!  All of these pieces feel special to me.  They’re all so unique and come from that part in my brain that I only have access to when I’m using clay.  The hippo was the first piece I made, so maybe it’s him.  He’s been with me through the whole making process.  

What's next for you?

I’m not sure what’s next, and that’s exciting to me.  I’m very much a yes person, which means there’s bound to be another adventure in art just around the corner.

Phoebe Turner, Swan Flower, 2026. Midfire clay, handmade glaze, commercial glaze, 10cm tall x 9cm wide.

Phoebe Turner, Hippo Flower Bird Mouse, 2026. Midfire clay, handmade glaze, commercial glaze, 19cm tall x 13cm wide.