I like to experiment with different techniques in ceramics. I am intrigued by patterns, colors, and contrasting shapes.
Tavleen Kaur was born and raised in India. She was introduced to clay while completing her Bachelors in Studio Arts at Stony Brook University, New York. While studying there, she was also the teaching assistant of her ceramics professor and renowned artist, Toby Buonogurio. Her experience while working with Toby inspired her to pursue a career in ceramics.
She further continued her education with a Masters in Design at San Jose State University, California. After school, she began working at The Potters Studio in Berkeley, California, a creative commune space for ceramics artists, teachers and learners. She could not have been better placed to understand the nuances of designing, making and teaching ceramics. While she was thriving in California, she was also intrigued by how pottery was booming in India. This led to her return to India in 2019.
She joined Aura Pottery Studio in Chandigarh and thus commenced her life as a teacher. She began with one day workshops but soon found herself teaching long duration, multi-level courses as well. While at Aura, she wore multiple hats including that of a teacher, studio manager, marketer, artist, seller and always the learner. After four years at Aura, she finally took the plunge to set up her own studio, Claymor.
As an artist, what are you most excited about?
People often equate ceramics to tableware. And I understand why. Afterall handmade tableware is beautiful, ubiquitous and functional. In India, we have been using it forever and are extremely familiar with it. Tableware is also the most practical entry to the world of clay and creativity. However, there is much more to ceramics. Especially in the space of architecture, interiors, and even sustainability. In the coming years, I am looking forward to exploring these.
Where would you like to focus in your teaching?
Many fantastic studios have opened up in all parts of the country. However, most studios tend to teach and popularise wheel courses. This means that only a few people have access to handbuilding courses. This needs to change. Handbuilding opens a new window for students of varying age groups and artistic inclinations, while being so much fun. In my classes, I want to be fair to handbuilding.
What are you currently learning?
Yes, of course. One never stops learning. I have been obsessing over the Nerikomi style. It is originally a Japanese technique which uses multiple coloured clays to create seamless patterns. The way clay reveals and designs itself, there is a certain mystery to it. I am always excited and inspired by it.
