INTERview | Helen Elliott

What is your background and training?

My background is in Early Childhood Education (B.ED from London University, UK) and many years later attended Kent State University in Ohio where I completed an (MFA).

What are you working on in your studio now?

Recently did some wood-cut monoprints on paper. Presently working on jewelry ideas. Also starting to work on pieces for a show in June which will be both enamels and mixed media.

Tell us about your process and how you came to work this way and has your practice changed much over time?

1% for art commission for school, Baltimore MD

My process has been largely experimental and is the way I have always worked in this medium. One of the reasons is that when I was first introduced to enameling in England, I was the only one exploring this medium in the department. There were very basic instructional books (none of which appealed to me) so it was trial and error for me and paying attention to details of change that took place before my eyes. Years later while working with liquid enamels on steel, I was again on my own discovering through experimentation. Although I had by this time done a few workshops, I was the only one working on my MFA using this medium at that time.

Do you experiment a lot or do you work within a specific set of parameters?

Yet another prevailing condition that motivated me to find different approaches to enamels was the fact that I detested the glossy porcelain enamel on steel which was like ‘signage’. Of course, this was an industrial material which I was translating into art. My frustration propelled me to manipulate and do everything I could to change the appearance of what I saw before me and this opened up a new set of possibilities. Only then did I become excited about using this medium and have been happy with it ever since. I have been called “the stoning queen” as this has been one of the most effective tools to create nuances and subtle changes from the otherwise glossy, resistant enamel. The painterly quality came through my experience with painting on canvas. It was not easy for me to make this transition to steel as besides using a new medium, the application and way of working is quite different.

Describe your teaching style.

My teaching style? I think it’s important to provide information that will give students a starting point and entice them to learn some more. I am attempting to share the knowledge and experiences that I have gained over the years. As students become more comfortable with handling the medium, I explain ways of working that will build a vocabulary of processes; the students can take that information, work with it and make new discoveries towards finding their own voice.

What most inspires you?

For me, enamel has such a wide potential that I enjoy challenging the medium in response to things that inspire me. I am definitely inspired by the handmade. My mother did the most intricate and beautiful handwork and used that as a means of adornment for our clothes. As babies she would make “french seams” and use tatting (a dying art with the advanced technology that we have today) as added beauty to the garment. Tucks covering the bodice of a pale pink organza was just exquisite. But, at 8 years old, you don’t have the deep appreciation; fortunately I gained that in later years. Though from the Caribbean, many expect that my work maybe inspired by palm trees and turquoise/ blue water. Not so. I found more interest in the subtle changes of nature as the seasons provided fascinating browns, ochres, greys, greens; colors in the trunks of trees and moss, stone, decaying wood and rust. Nature provides such pattern and repetition, as well as those earthy colors, texture and indentations that are very appealing to me. I am not from the “throw away generation” so things were repaired, recycled, upcycled. Some things have an added haphazardness to which I deeply can relate. Shacks on the side of the road have interested and fascinated me from childhood. The intuitive nature of how these are made and with discarded materials; some in their natural state, others painted and adorned in quirky, intuitive ways and beautiful. A wonderful acknowledgment to the mark of the hand as well as survival and inventiveness.

Who are your favorite enamelists? (what are your most important influences)

Among my favorite enamel artists is Elizabeth Turrell of the UK. The first moment I saw her work, it was such a revelation to me that I had met someone who was working in ways that overstepped the glossy, predictable surface of enamels. Although I have a deep respect for so many enamel artists who work in traditional methods, my own aesthetic is more aligned to a contemporary approach and less about the tight regiments of cloisonné, for example. Cloisonné well done is a beauty but not what I want to do. June Schwarcz is such an inspiration. Her force and inventiveness keeps her work so current and vital. Jeweler Bettina Dittlmann from Germany has explored iron and chips of enamel in a way that has totally abandoned any semblance of tradition. There are a number of enamelers who I met when I returned to this medium who, because of their daring to rediscover and change the rules of what was seen as enamel were an inspiration to me, while contemplating a vision of new ways I wanted to explore.

What is your dream project?

There are several dream projects in my mind. I can’t think of a particular one, except to say that I would love something that gave me immense freedom; where I could use enamel in different ways, both copper and steel and explore beyond the squared wall panel.

Tell us about the workshop you will be offering at the EG/NE conference.

At the EG/NE conference I will offer an opportunity for students to become comfortable with liquid enamel and learn ways in which we can manipulate and change the appearance. Painting on enamel and firing is very easy. Using the material in different and subtle ways takes a lot more time and effort. But, I want students to see how these changes can occur and how much that effort is worth it in the end. Making change is also about firing methods and finishes. Persons should leave the workshop with examples of their explorations and keep those as reference for further works as well as inspiration to pursue further explorations in their own studios. Also, a good time to answer questions about use of this intriguing medium.