Image: Lauren Downton, Permeate, 2024, porcelain and wire, photograph James Field.
Lauren Downton is an emerging artist working in contemporary ceramics and installation.
She combines animal, vegetal, and human-made forms into ghostly hybrid assemblages that examine humanity’s relationship with the natural world. Created using mould making and slip casting techniques, her intricate hybrid sculptures encompass casts of branches, leaves, antlers, animal organs, plastics, waste and human debris. Exploring ideas of the ‘cast off’ and excess, Downton’s hybrid fusions examine the complex entanglements between production and consumption in contemporary society, and the natural environment. Downton explores hybridity as a means of re-imagining what it means to be human and redefining how we interrelate with nature—how we perceive its boundaries, and understand its enmeshments with society.
How would you describe your practice in 5 words?
Alchemic
Precarious
Hands-on
Detailed
Evolving
What creative challenges have you overcome?
Setting up a basic home studio has felt monumental! Initially, this seemed like a huge barrier because of the high costs involved with ceramic equipment, and I was unsure how I would afford it. When I was nearing the end of my university studies, I was lucky to come by a great second-hand kiln at an affordable price, through a mutual friend. Getting three-phase power to my house was the next challenge and involved a lot of trenching, upgrading the existing old electrical box, and hard-wiring the kiln. Getting the kiln to work was another challenge. Initially, the kiln programmer wasn’t wired correctly, meaning it couldn’t speak to the kiln. Fixing this was tedious, involving trial and error and problem solving. I’m grateful for the help and advice I received from the ceramic tech at university, and eventually—along with my electrician—I was able to get it running. My first firing at home was a huge milestone!
How do you work through creative blocks?
I’m a big fan of Steven Pressfield’s book The War of Art. I come back to it again and again. It’s a wonderful reminder to keep going and just keep doing the work, despite whatever challenges I may be experiencing at the time. My own experience of navigating creative blocks is a gradual process; one resolved through a series of small steps and gentle persistence rather than a singular solution. It needs time and reflection, and a lot of experimentation.
What’s one piece of advice you would give to your creative peers?
Keep pressing on, even when you’re unsure of what to do next or where the work is going. Action unlocks insight.
What are your career aspirations for the future?
I would love to travel to different parts of the world to expand my knowledge and expose myself to new ideas and experiences. In particular, I would love to study ceramic amphorae in Greece and Italy, exploring the historical connections and ancient influences of my medium.
Images: Lauren Downton, Amalgam (series), 2024, porcelain, whiskers, fleece, artificial flowers, found rubbish, and experimental glaze, photographs James Field.