Helen Long Ceramics
Helen Long
Helen Long is an emerging ceramic artist, making bespoke work focusing on the medium of porcelain.
Recently Helen has completed her studies at UCA Farnham which was a rewarding and fascinating experience.
CV
Helen Long b. 1961
Education:
UCA, Farnham. 2016-2017. Access to Higher Education
UCA, Farnham, 2017-2020. Ba (hons) Ceramics
Exhibitions:
ISCAEE 2019. (Korea).
Heathlands Artworks Project 2020
September Ceramics 2021-24 (City Arts Newbury)
Teaching:
Sessional teacher 318 Ceramics, Farnham in 2019.
Sessional Teacher at City Arts Newbury
Artist Statement
I work from my garden studio in rural West Berkshire, where I have lived for nearly 20 years.
My work originates in the vessel form, a timeless symbol of containment, femininity, new life, and hope. While my practice has evolved, this symbolic foundation continues to inform my approach to creating ceramics.
Recently, my focus has been on handbuilding techniques, allowing me to explore more organic forms and patterns. I primarily work in porcelain, a material that fascinates me with its silkiness, translucency, brilliant whiteness, and its long, storied history. Porcelain’s unique qualities lend themselves beautifully to my exploration of themes such as light, fragility, and resilience, reflecting the human experience in tangible form.
Inspiration for my work often comes from human interactions and our relationships with the natural world. My background in health visiting continues to shape pieces that explore themes of mental health and wellbeing, while my deep connection to The Black Mountains in Wales, where I have walked and visited for over 30 years, has inspired works that examine the spiritual and emotional bonds we form with the land. For example, my porcelain stone circle, exhibited at Farham Heath, emphasized the importance of adopting a holistic approach to conservation.
A commitment to sustainability is increasingly central to my practice. I work toward minimizing the environmental impact of my ceramics by using solar energy in my studio, firing my work once whenever possible (rather than the traditional two firings), and sourcing materials as locally as I can. I also avoid purchasing materials where there is evidence of labour exploitation, aligning my work with ethical principles and respect for the people and places involved in the creative process.