Often in ceramics; cracks, pin-holed glazing, mixing of clay and patchy slips are seen as defects, but David William Sampson has created a body of work that enhances and celebrates these, each is still beautiful and valid in its own right. They have been made imperfectly-perfect with confident construction and finishes applied. Some will see the children and have an instant parental instinct, then look closer to see that they are decapitated, broken faced or damaged and it leaves people unknowing how to feel; this conjuring of a mixture of emotions and it is that very element that evokes intrigue and conversations! Some people are unsure if to be scared, hate or if to love them even more. They are all intriguing little characters that are all individual and hold their own temperament, from princes to clowns and apomorphic elements creeping in, these children just want to play, be loved and adopted into a new family.
Self-taught or art school?
I have always been a maker but I studied professionally at Nottingham Trent University, UK, to study ‘Fine Art’ in 2006, but soon changed to ‘Decorative Arts’ where I graduated in 2009, I gained a whole range of technical skills to merge with my Fine Art interest and background, over the years work has developed into the more challenging craft, or craft with guts as I like to phrase it.
If you could own one work of art what would it be?
I have many loves and artists I admire, but narrowing it down to one is tricky, but I have fallen in love with the magic and curiosity of Scott Radke and his magical creations. Such elegance and wonder in each piece, he also lives the life of his characters in how he portrays his social media presence and holds this incredible idyllic fantasy that is out of reach. It is this I love.
How would you describe your style?
My style is most distinctive, partly with the creepy doll aspect, partly with how I use the materials. Often in ceramics; cracks, pin-holed glazing, mixing of clay and patchy slips are seen as defects within traditional pottery and ceramics, but I have created a body of work that enhances and celebrates these perceived negative traits. Each baby is still beautiful and valid in its own right despite the ‘imperfections’ they may have. They have been born imperfectly-perfect with confident construction and finishes applied, this makes my work quite distinctive but also the subject I choose to sculpt; some will see the children and have an instant parental instinct towards them, then look closer to see that they are decapitated, broken faced or damaged teethed and it leaves people unknowing how to feel; this conjuring of a mixture of emotions and it is that very element that evokes intrigue and conversations! Some people are unsure if to be scared, hate or if to love them even more. They are all curious little characters that are all individual and hold their own temperament, from princes to clowns and apomorphic elements, all these help create the David William Sampson style.
Can you tell us about your artistic process?
I tend to start off by drawing, and creating little stories for characters and who they are, of course at the end of the process the stories don’t always fit with children, but their life starts out as a range of different clays that start by being torn into clumps and left out on the side. These natural balls of wet dirt are pushed into made moulds to get the basic shapes of my children, sometimes dried clay is pushed into the surface of the babies. I like to use some porcelain for the eyes as it really brings them to life. Each baby born comes with its own unique character and are very individual, some have pointy teeth, some have beautiful smiles, some are kind and some are your worst nightmare. I dress my children in different attire, they sometimes want to go to a party, some like to play the joker, others are literally animals where I adhere authentic horns to little inserts in their heads or add rabbit ears, the possibility of who my children are is endless and limitless, though I am always fond of a little prince. My children are all a mix of stoneware clay and are twice fired with a top firing of 1260 degrees and made in my professional community studio in Long Eaton, Derbyshire, UK.
Is narrative important within your work?
With the very nature of creative figurative work it certainly lends itself to the narrative. Youngsters are made with no ties so can be put together as a collection and tells a story, some sit round silver tea sets with teeth on the tray discussing the weather, others sit in a gravy boat watching the world go by or sitting admiring themselves in small vintage broken pocket mirrors. The character combinations are endless and stories quickly change depending on which little critters are in question, and who is viewing them! More recent times I have really enjoyed short films with these, telling the cheesy jokes, or short clips of them interacting in the world in weird scenarios and is something I am excited to develop.
Who are your favourite artists and why?
I am in love with the magic and scale of Sharon Griffins, we haven’t met yet but think I would majorly fan girl when I do. Her work is so confidently beautiful. I have fallen for pieces from Lady LillyPot where her textiles of anthrophonic animals hold so much charm and charism, much like the beautiful Mr Finch and quirky Annie Montgomerie. I adore the work of Katya Timoshenko, a Latvian fine artist who creates the most intrinsic prints and paintings with such character and engagement. There are so many incredible people of whom I have wonder and admiration for their work.
What or who inspires your art?
My work is and always has been inspired by a quote by Sam Keen; ‘We come to love not by finding a perfect person, but by learning to see an imperfect person perfectly’ and I hope to think my work reflects this very relatable quote, beauty is always strived for but never achieved, children in themselves are pure beings, perhaps mine of the surface aren’t, but maybe they are? They are children after all. I am motivated by the conversation around work, and to hear people say they dislike my work, but through conversation can come to a compromise about the perception of my intentions and my children, and at times make an adoption that day!
Where’s your studio and what’s it like?
My studio is in the sleepy town of Long Eaton, Derbyshire, UK, it has professional studios for artists like myself, while the other half is a community centre which puts on activities, events and exhibitions for the local community, it’s the most wonderful community to be part of. My studio houses my children on a 12-foot x 8-foot scaffolding board display stand that covers a wall and half, by the window that looks onto the local graveyard is my 4 x 3-foot table where I sculpt and create wondrous creatures. There are a few metal tools mixed amongst plastic, wood and rubber utensils I use to create work, I tend to keep my moulds and clay under side units where they are neatly packed until needed. The studio usually has clay dust on the tables with small dried chunks that will be used in a creation to come and a small put of slip that hasn’t quite dried out awaiting the next child to be born.
Do you have any studio rituals?
I like to start the studio day by greeting local artists who are in before retreating to my studio to hide away for the day, I obviously talk to my children who are being born and say good night when I leave and turn the light off. I don’t have much of a singing voice for lullabies, but find a quick good night, light off and closed-door the easiest so I don’t have to deal with the crying.
What are you working on currently?
I’m currently developing my smaller ranges, I just LOVE making heads, but I am also working on a larger range of 40cm pieces, these are babies from the waist up interacting with varying items, just as a clown juggling little heads and mini tennis balls joined on the metal circle, the unlucky prince holding dead roses or the child version of ‘Pan’, these larger pieces are then being made into in-depth lino prints with up to 4 layered A2 prints! I have found these 2D depictions of work exciting and can’t wait to fire my next piece to make a print of him too!
Where can we buy your art?
By private appointment, only The Long Eaton Art Rooms, Long Eaton, Nottingham, Derbyshire, NG10 4LD is available for viewing.
I also have fairs that are in progress for later in the year but all have been cancelled due to Covid, however a place in ‘Only Clay’, Sheffield November 2021 has currently been confirmed
Alternative adoptions can be made at the following galleries
The Harding House, Lincoln
Masham Gallery, Masham
Why Not, Burton on Trent
Gallery Pure, Pembrokeshire
Ragleth Gallery, Church Streeton
To view more work visit – davidwilliamsampson.com
