Visiting Artist of the Month – Martha Hamblin

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What is your favorite medium?

I spend most of my time working in photography, and I love it. I also love immersing myself—sometimes literally—in clay, and playing with mixed media. My first foray into clay was a class on photo imaging on clay with Hollie Taylor. So there was an instant fit between the two media. While that work was fun, I found it involved more process than I wanted, so I’m not doing that now. It was the tactile part of clay that really appealed to me and still does. That said, a lot of process happens between the initial concept and the final creation in both the photography and clay work I do. It would seem that lengthy process is an integral part of how and what I create.

Where do your ideas come from?

Photographic ideas seem to present themselves. Because nature and travel comprise most of my photographic work, in a sense, I find the ideas rather than them coming to me. I delight in the surprise of seeing a composition, noticing a certain light. There’s an old photographic adage from the film days, “f8 and be there.” Loosely, that means have the tools ready, be prepared and be where opportunity presents itself. I still follow that to a large degree. With clay, I find that I am inspired and influenced by my travels, other artists, books, architecture and friends. With all my creative work, spiritual teachings play a big role.

When is your favorite time to work?

Working in the early morning light is magical for image making. There’s nothing like watching the world wake up and spring to life, whether it’s in a city, at the edge of the Grand Canyon, or in a garden. Those moments when the silence and stillness of the night linger, like the pause between breathing in and out, hold a special fascination. The end of the day is subtly different, yet offers its own enchantment. If I am spending more time making pottery, I often work late into the night. Nighttime is also when I do a lot of photo editing. I get absorbed, the hours evaporate, and suddenly it is late. Of course, that absorption happens any time of day or night!

Where is your favorite place to work?

I love working outdoors, especially in nature, but also in urban environments. The best way to work with natural light is to be in it. Beyond the visual, the sounds and smells, and sometimes the tastes and textures, add to the experience of creating my work. I have a wonderful studio, recently greatly improved when my brother added some storage space and a work surface. And some work takes place in the dining room. When the weather is warm enough, I move outside to make my clay pieces. I also really enjoy working in the studios at the Clay Centre in Carrboro. The space is ideal, and the talented potters there inspire me.

When did you know you were (or would be) an artist?

Ah, do I dare call myself an artist? My sister is the real artist in the family. She can do and create anything! And my brother can build anything. I hesitate to call myself an artist and sometimes feel like a charlatan describing myself as one. I first considered myself a real photographer when one of my photos was accepted in a juried show and then published about 25 years ago. More recently, I was surprised and delighted when someone I didn’t even know exclaimed over and wanted to buy a piece of pottery I had made. So, I am slowly internalizing and claiming that identity.

Was there any one person who was instrumental in your becoming an artist?

Many people over the years—friends, family, co-workers, teachers—have contributed to my being an artist. The one person who has been unfailingly supportive is my husband, John. He loaned me a Nikon camera in 1979, and that fueled my nascent passion for photography. He has a terrific eye, accommodates chaos all over the house before a show, does most of the cooking, takes care of the cat, and encourages me in every way.

What is the biggest lesson you’ve had to learn the hard way?

There really are only 24 hours in a day. I sometimes still delude myself about that and take on too much. Saying no to others and yes to my art is something at which I’m becoming more adept, and yet it is still a challenge.

What structures do you have in place to preserve your creative time and/or encourage yourself to stay engaged in your art?

I have a golden hour first thing in the morning that I strive to keep sacrosanct. I use this time to reflect and plan, often while I am out walking in the calmness of the early morning. Scheduling time away by myself is not quite a structure, but a technique and strategy. Classes, workshops and conferences provide a literal structure for learning, and thus staying engaged. For instance, I sign up for a clay class several times a year in order to have the structure of “having” to work in clay for at least one day a week. Often the energy and collective wisdom and experience of colleagues, classmates and attendees at these things re-invigorate me and offer more than the actual course material or techniques being taught.

Are there any sacrifices you feel you’ve needed to make in order to pursue your art in a serious manner?

I have sacrificed sleep more than once. More seriously, I have foregone other career opportunities, at which I might have made more money—and been far less happy. Sometimes time to spend with friends and family is more limited than I would like. I know that isn’t unique to me or any other artist.

What is your biggest struggle when it comes to being an artist?

Finding the balance between making art, marketing art, maintaining relationships and the daily demands of life is a challenge. Because I have a wide variety of interests, part of this struggle involves staying focused and valuing my time appropriately. Some days seem to skitter away like water drops on a hot griddle.

What is your biggest joy when it comes to being an artist?

That is a toss-up between the deep satisfaction of feeling that a photograph or piece of pottery completely expresses my thoughts and feelings, and the pleasure of someone else responding to the work. When another person pauses before, or exclaims, sighs or muses over a photo, or reaches out to touch or caress a clay creation, we have connected. That feeling is incomparable. I’d be lying if I said it doesn’t matter at all if nobody buys my art. When someone is willing to exchange their hard-earned cash for my work because the art will somehow enhance her or his life, or that of a friend, I am honored and gratified.

How do you recharge your batteries?

I take a busman’s holiday. I move away from the computer and get close to nature with my camera. I might go to the beach, the mountains, a botanical garden or the backyard. I wander so I can wonder. I make a point of spending time with other people’s work. Perhaps paradoxically, I also take classes, and go to seminars and conventions. I’ll take a class in an area that is different than photography or clay. They help to prime the pump.

See More of Martha’s Work at her Website,

 http://www.photophish.com

 

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