A natter with: Aphra O'Connor

Join us for a natter with northern creatives and the people behind the places that drive the creative community.

Next up for a natter is the wildly imaginative artist-curator behind some of the most joyful clay work around Aphra O'Connor. From casting collected forms with a vacuum former to channeling big emotions into sculptural collages, her practice is as instinctive as it is intentional; fighting materials into new life and building a wonderful community while she's at it. You’ll find her work across North Yorkshire and beyond, from Redcar Palace to public art in train stations, but it all starts with a sketch, a found object, and a little bit of beautiful chaos.

Hi, Aphra!

Tell us what you do:

Honestly, I don’t know what I do. My partner Rob has just said that I take clay and paper and colours and make them all fight and then cool things appear and it really does feel like that. I have always been creative, and a lot of the things I make come from the dark recesses of my mind, very naturally, like they are trying to escape. I suppose the answer is I create drawings that inform clay sculptures, but the way these objects and lines appear feels very organic, they are very much a part of me.

“I’ve always been creative, and a lot of the things I make come from the dark recesses of my mind, very naturally, like they are trying to escape."

Can you tell us more about your process of collecting and transforming objects?

Collecting has always been important to me, probably because my parents are antiques dealers so I have always been surrounded by interesting design. I am drawn to objects with cool textures, things that I would like to recreate in clay through and then use to create 3d collages.

I was awarded the Making Waves grant in 2022 which allowed me to purchase a

Mayku vacuum former, which I now use to create vacuum formed collages of found forms which are then cast in plaster and then finally used to mould clay casts from.

I enjoy this process because it gives me distance from the original form, creating my own language from the objects I collect.

What is a typical day in your studio? How do you get in the zone?

I would love to be able to have a typical day, but I am not one for routine. I am currently creating new work for a solo show in October alongside working on a commission for a council project. I am always in the zone to create, but I do need to make sure I am channelling my energy to one or two projects instead of millions at the same time! I work best when there are a few things to work between, and this understanding of the best way I work is only a recent discovery after an AuDHD diagnosis, so I am constantly working on balancing many ideas at the same time whilst still retaining the excitement and dopamine

high I feel when creating something new.

“I’m constantly balancing ideas at the same time whilst still retaining the excitement and dopamine high I feel when creating something new.”

Tell us about Redcar Palace! Anything coming up that we should know about?

There is always something wonderful coming up at Redcar Palace! Our current exhibition is on until July which is called ‘In the Studio’ and is a different approach to solo shows, with

three Northern artists Kirsty O’Brien, Charles O’Connor and Numi Solomons. It's definitely worth a visit! Go follow Redcar Palace to find out what’s on!

As a curator and an artist, how do those roles influence each other?

Being a curator alongside being a creator has allowed me a new insight into the artworld as well as a new insight into how I make work, and it has undoubtedly made me a better artist.

In my role as Curator of Artist’s Programmes at Redcar Palace I am surrounded by a wonderful network of creatives, organisations and ideas, and I feel lucky to be working with the team there, who all bring such a unique and varied insight into how art should be available for everyone.

How do your surroundings shape your work?

My work is usually abstracted insights into myself, however my recent commissioned work has been about my interactions with my surrounding landscapes. I am currently working on a new series that explores what an internal mental landscape might look like, how feelings of

stress, anxiety and joy could be translated into paintings and drawings. This way of translating how I feel into designs has helped me process lots of big emotions, and is a very therapeutic way of working.

When you’re not busy making art or at the gallery, where would we find you?

One of my favourite places to sit and relax is Mary’s Sandwich shop in Sandsend which has the loveliest staff, fantastic food and the best views.

Where can we find your work?

You can see my public commissions at Danby Lodge National Parks centre where ‘The Moment’ art trail takes feelings around particular vistas at the site and translates them into designs for ceramic mosaics. My permanent design for a pedestrian crossing on Zetland road and planter designs in Exchange Square are just outside of Middlesbrough train station, and my ‘I Spy’ map of interesting architectural designs around the area is available in the train station too.

I am currently working on a new public art commission alongside James Beighton and Tees Valley Arts which will be announced very soon, so keep your eyes peeled!

My solo exhibition of work will be open in October at the Inspired by… gallery at Danby Lodge, alongside another solo show of work by TOM-O.

Who would you nominate for us to have a natter with?

I am in such a wonderful position to know so many interesting creatives in the area, but I think it’s important to reflect on my beginnings and why I became an artist. 

My mother Numi Solomons is one of my main influences. She started out as a knitwear designer, and through taking the same ceramics evening class with me at John Egerton’s studio she began to

translate her designs into clay. 

I am constantly inspired by what she does.

Thanks for the natter, Aphra!