Elena Renker
Elena Renker
June 2024
I love the idea that your passions don’t leave you and feel inspired by your story of learning pottery when you were a child in Germany followed by a residency at Golden Bridge Pottery in India as a young adult, then dropping it until your youngest of five children went to school 20 years later in New Zealand. Did you think about pottery or what you wanted to do / make in that time without it?
To be honest I was so busy with my kids that making pots did not even cross my mind. But I have always loved making things that can be used in every day life and so I focused on making things for my children. I learned to sew their clothes, did lots of spinning, weaving and knitting. I made wooden toys and puzzles, dolls and picture books. We were also pretty much living off the land with a large vegetable garden, chickens, sheep and cattle. We even had a milking cow for a while and I made lots of cheeses. It was a busy life.
What was the experience like building your third kiln with Duncan Shearer? What kind of kiln did you hope to build ?
Building the kiln with Duncan was great. We discussed the kind of kiln I wanted and what sort of effects I wanted to achieve. Duncan drew up the plans. I did most of the work, dismantling the old kiln, cleaning the bricks etc. Kiln building is hard work, the bricks are very heavy but it is also very satisfying, watching it all come together. My son in law helped rebuild the roof of the shed. Duncan came every few weeks to help with the tricky bits like the arches etc. The kiln design is different from other kilns that Duncan has build, a bit experimental and I am still learning the best way to fire it.
We were lucky to watch your latest firing being unloaded from this kiln. What are the challenges to wood firing? Do you enjoy the process of learning about a new kiln?
Usually the challenge when firing a wood kiln is to get to the high temperature that is required to melt the glazes. It needs the right balance between air intake, the wood stoked and the draft from the chimney. Every firing is different, the loading of the kiln, the wood used and also the weather. A high or low pressure system can influence how the kiln fires. But in my new kiln the problem seems to be that it is getting much too hot too fast. I have been experimenting with different ways to slow the kiln down. I very much enjoy learning to fire it in a way that will get me the best results.
How long did the firing take for the latest pieces?
The last firing took about 17 hours.
Coming to your studio I feel your work is as much an embodiment of place as it is your own signature style. You’ve had your home studio and various wood-fire kilns since the early 2000s, you use the materials, resources from your property, wood for the kiln whose ash interacts with the glaze... shells and other natural materials collected from the area that also interact with the glaze in the firing. Do you think this is why your work is so recognisable? Do you enjoy knowing where each layer in the process comes from?
My work is me. It is what comes naturally. I work in quick gestural movements both in the making and in the glazing process. I like to just let things happen. So the work reflects who I am at that particular moment. That is why it is almost impossible to repeat anything. I am not the same person that I was a year ago so naturally the work looks different. It is interesting to observe. Who needs a therapist when you have clay.
You’ve participated in many overseas residencies and exchange with many potters from abroad. I admire how you actively search for new techniques from other cultures and are so generous with your time with others too. Is that something that you’re attracted to do?
Yes, very much. I love learning new techniques, learn about how other potters work, fire and then to pass that knowledge on. But I also love learning about different cultures. I always feel that we have to evolve and challenge ourselves, push ourselves out of that comfort zone to do something new and different. And potters are such wonderful people, so kind and generous. They are the same right around the world so there is an instant connection.
Do you have a favourite tool?
Oh, that is a hard question. Yes, I have a few favourite tools. My wire loop trimming tool I use all the time, the little rubber rib, a wooden tool that I have had since the 70s. I love tools, whenever I travel I try to go to the local pottery store to see if I can find something new and exciting. Many of them I never use but some have come in very handy.
It's exciting to see the larger pieces for this show – what are you trying to achieve with scale? What are the challenges with making large pieces with clay?
There is something very satisfying about making larger pieces. It is a different way of working, challenging, requiring more strength lifting large amounts of clay. But to me the larger pots tend to have personalities, they have a presence that I really like.
What does craft mean to you? What keeps you inspired and making?
Making things is just who I am, I can’t help myself, I think I will always keep my hands busy in some way or another.
As an established artist, what do you think the NZ pottery scene needs?
I would like to see more visits from overseas potters, more exchange in knowledge. We used to have at least 2 or 3 potters every year giving workshops which was always so inspirational. New Zealand is such a small place, I think it is important to have that connection to the rest of the world. I feel very lucky that I am able to travel and exchange knowledge with potters from around the world.
