Helena Lacy is a ceramic artist based in Shepherds Bush - London, prior to primarily designing with ceramics she had studied Technical Art and Special Effects for Stage at Wimbledon College of Art (UAL), exploration during this course led her to focus more on ceramics and has been devoted to this medium ever since.
Helena often takes inspiration from the natural world, she tries to embody the textures, shapes and colours found in organic objects, Even down to the clay mixes she creates, she wants to celebrate clay and its origin by using its natural colours and textures rather than glazes.
The other main inspiration behind Helena’s work is the female body. Helena's Fingō collection is an ever-expanding series, taking aspects of the body that are traditionally feminine such as curves and reassembling them to create an abstract expression of the female form.
Maker's process photography by Lloyd Ramos
How did you get into creating?
I have always been a creative person as someone who struggles with dyslexia, making is how I express myself.
I originally studied fashion and clothing and wanted to get into costume design, but found my love for sculpture during my foundation degree and went on to study Technical Arts and Special Effects for Stage and Screen at Wimbledon College of Art.
It was after university I discovered ceramics as a way of being able to create my sculptures and I have been devoted to the medium ever since.
What is your dream project?
A dream project would be creating large ceramic sculptures for the community to interact with, for example a playground or a permanent installation.
My pieces are very tactile, one of the main intentions with my work is to encourage a playful approach to ceramics – interacting and discovering with our hands. I love my work to be held and touched, seeing people's reactions when they interact with something I have created always brings me a lot of joy.
Why do you use the processes and materials you use?
I discovered ceramics as a way of being able to create my sculptural forms without having to mould and cast them.
Coming from a sculpting background, I found the coil building technique the most familiar way to create work and re-trained myself to build hollow sculptures from the ground up, rather than on an armature.