four hundred and twenty five

Introducing Cosset Ceramics

To celebrate the addition of Cosset Ceramics to the beautiful stable of homewares stocked at our Paddington Flagship and online here, we spoke to founder Tatsiana Shevarenkova about her creative process and the inspiration behind her beautiful sculptural forms.

Hey Tatsiana, can you start by telling us a little bit about Cosset and how you first got started? What were you doing beforehand and how did it lead you to where you are now? 

COSSET CERAMICS unravels itself in the name. The word cosset means attending to making someone comfortable and protecting them from anything unpleasant. This is the way I feel about everything and everyone I love, and ceramics happened to be one of these things. It's my gateway to simple joy.

I used to work in the fashion industry, publishing houses specifically, and felt worn out by the industry itself. Moving to Australia helped me to escape the routine and as a result, allowed me to find myself in full-time ceramic practice. I first began learning ceramics in 2019. It began as something cathartic and stress-relieving. Since then, I couldn't stop and gradually dedicated myself to creating sculptural shapes.

Is there a particular inspiration behind the natural forms that your objects take?

I'm attracted to the contours of bodies and bodies in movement. But it's a sense of calmness that leads me to create soft gentle shapes.

I'm attracted to the contours of bodies and bodies in movement.

 


Can you tell us a little bit about your creative process when making a particular piece or collection?

I overload myself with imagery of everything I find attractive: gentle curves of the body, sculptural biomorphic shapes, the architecture of the mid-century, and of course, documentaries on nature (if there is anything left to watch). It's a simple recipe that always serves me well.

Then I draw some wobbly shapes and if my eye catches an interesting form - I work with it. Alternatively, I have an idea of how large and what type of object I'm willing to create. I spend hours playing with clay looking for the shape. Primarily, I use coil building techniques.

I fire my works at low temperatures and often leave the body unglazed, keeping it raw and textured. Sometimes it takes days to sand and to refine the results.

I fire my works at low temperatures and often leave the body unglazed, keeping it raw and textured.

What materials do you love to work with and why?

Apart from clay, I have a curiosity about wood and stone. But unfortunately, I don't feel ready to explore these materials just yet. It's quite a change to move from clay to materials less forgiving and more demanding.

In the meantime, working with clay is a true joy. It easily takes any shape and has no waste, everything can be recycled. Hand building is the least messy practice.

Can you tell us about your studio, how important is it to have a creative space for your practice?

Having space is extremely important. Not only because it's impossible to fire a kiln in my apartment, but because it's healthy to nurture and build a dedicated workspace. In other words, it's important to create a divide between home and work.

I'm lucky to have recently moved into a new studio space in Marrickville that I share with four other ceramicists. I enjoy having a private space to myself but equally enjoy bouncing ideas off my talented neighbours.

What are you most looking forward to for the rest of 2021?

Dreaming of holidays and travelling: realistically within Australia. I want to explore the outback. Aside from that, I have my heart set on learning how to dive and swim properly.

I do hope I'll have more exciting projects and continue growing within my practice. I'm very grateful for everyone's interest in my works and genuine support.