laurenmakingstuff.co.uk- About me

Born in Wilmington, Delaware, I have spent the last thirty years living in the United Kingdom. My early life was shaped by frequent moves between countries before eventually settling in the UK with my parents and sister. This transient upbringing continues to influence my practice, informing my ongoing interest in identity, belonging, and self-reflection.

I studied at the University of Derby, graduating in 2006 with a BA in Fine Art. During my studies, I focused on exploring the body through close-up photography, an approach that established the foundation for my continued engagement with the body as subject matter. Growing up predominantly in the UK after moving there at the age of nine, I became increasingly aware of how environment and personal history shape both identity and creative practice.

Now based in the UK, I am raising my two sons, aged fourteen and twelve, alongside continuing my artistic practice. The experience of constant movement in my early life has led me to view my work as a process of searching—an ongoing exploration of self. This sense of looking for oneself remains central to my practice and is reflected in the work I continue to produce.

I am a third-year student at the University of the Creative Arts Farnham, where I work primarily with ceramics and glass, incorporating plaster as a side material. Over the past three years, I have gravitated toward the slip casting process in ceramics for its precision and ability to create intricate forms. In glass, I have recently explored the pâte de verre technique, drawn to its capacity to capture the human body in a way that is both delicate and exact, with a grainy, fragile aesthetic that mirrors my own experience of vulnerability.

Central to my practice is the exploration of the body as a form of self-reflection. This theme has always been present in my work, from self-portraits to portraits of those around me. I use my body as both the subject and starting point, reflecting on how we exist within our own physical forms. Lately, I have been questioning how to present my work outside of traditional gallery contexts, seeking alternative spaces to engage the viewer in unexpected ways.

I find inspiration in artists such as Sean Henry, whose sculptures challenge the context of their placement, creating surprising moments for the viewer. William Eggleston’s atmospheric photography has also influenced my work, as I aim to capture the intimacy of my pieces through similar visual language. Additionally, I admire Verity Pulford’s intricate pâte de verre work and hope to explore the delicate balance of form and texture that she achieves.

Over the past year, I have focused on experimenting with the temperatures of glass, a process that has been both challenging and rewarding. Learning the nuances of the kiln has been integral to refining my aesthetic, and I continue to test and adjust to find the ideal balance of colour, texture, and form.

My work is colourful, contemplative, and often surprising—an invitation to reconsider the boundaries of material, context, and the body itself.