Inspired by the quiet rhythms of the ocean and the raw beauty of the natural world, Brisbane ceramic artist Michelle Morton creates pieces that are truly sculptural works of art. I first met Michelle in our Paddington studio, and we soon found ourselves talking about art, nature and the beauty of making things by hand.
Oyster platters, sculptural shells and softly irregular forms emerge from her clay, shaped by rocky shorelines, coral, salt air and the tiny patterns nature leaves behind. We step inside her studio to talk about making slowly, the beauty of imperfection and the wonderfully calming ritual of working with your hands.
Michelle wears the Kimberley Anne Signature French Embroidered Linen Midi Dress.
Your work has such a beautiful connection to the natural world and particularly the ocean. Where do you find inspiration for your pieces?
I have always been drawn to the ocean and feel most calm and happy when I can smell salt in the air and hear the ocean breathing. I’m inspired by exploring rocky shorelines, rock pools, shells and coral, but also by the smaller organic patterns you find in nature, like the lines a sea snail leaves on a sandy rock. I think it really comes down to my fascination with forms that occur naturally and imperfectly.
Your clam shells, oyster platters and organic forms feel almost as though they have been discovered in nature. How do you translate those natural shapes into clay?
I create everything by hand, which gives me much more freedom to create organic, imperfect forms. I’ll often roll out a large slab of clay and let the clay itself guide me, working with its natural edges, folds and tears rather than forcing it into a template. I rarely want two pieces to be exactly the same, the little differences are what make them special.
We love the little irregularities that come with things made by hand. What does imperfection mean to you in your work?
For me, the imperfections are what make a piece beautiful and give it character. A slightly uneven edge, an unexpected curve or a glaze that moves differently across the surface tells the story of the hands that made it. I don’t want my work to feel mass-produced or perfectly uniform, those little irregularities are what make handmade ceramics feel alive.
Is there a particular piece you've created that holds a special story or meaning for you?
It’s hard to play favourites, but there are definitely a few oyster platters I regret selling! Two large Sculpture Oyster Platters which were featured in a photoshoot had incredible curves and little pinches in the clay that gave them so much character, they were completely unique and impossible to recreate. I also have a recent piece now living in France with the most beautiful glaze and an iconic little drip that I still think about!
What does a typical day inside your Brisbane studio look like?
There are a few different versions of a typical studio day. Workshop days are clean, calm and social, preparing the studio, teaching, chatting and then inevitably cleaning everything up afterwards! On other days I’m usually juggling several things at once: loading the kiln, glazing, working on commissions, packing orders, admin or creating new pieces for upcoming launches.
There’s something special about stepping away from everyday life and making something with your hands. What can someone expect from one of your ceramics workshops, and what do you hope they leave feeling?
Working with clay is incredibly therapeutic and naturally encourages you to slow down and focus on what’s in front of you. I often hear people say they feel surprisingly calm and relaxed during the workshops, and there’s such a great sense of achievement when they finish something they’ve made themselves. I hope everyone leaves feeling accomplished, calm and happy.
Describe your personal artist wardrobe style in three words.
Relaxed. Textural. Neutral.
