Frances Pelly

1. What motivates you to make?

The Japanese concept Ikigai which translates to ‘reason for being’, is for me, my creativity and my motivation. The environment, weather and tides hold me in their thrall and govern life here on Orkney. I love using my hands and using natural materials – sometimes creating something from ‘nothing’. I hope to pass on the enjoyment I glean from the tactile qualities of sculpture in an effort to help restore a more creative use of our hands. My subject matter, too, brings an awareness of the natural world which has made its presence felt during lockdowns and now needs our full attention.

2. What and/or who are you most inspired or influenced by?

My primary inspiration is derived from a closeness to, and great respect for, the natural world. Orkney is my home of thirty three years and it not only provides a rich source of ancient cultures, archaeology and artefacts to draw from, but its environment, land and seascapes also feed my imagination.

I am fascinated by the hand-crafted work in many cultures – from the earliest cave drawings to the hand skills of today. These range widely from primitive and decorative pieces, Inuit sculpture and printmaking, to functional and structural items using natural materials. I spent my early years in West Africa and have inherited a collection of wooden carved relief panels, stools and fabrics. Japanese culture, particularly early woodblock prints, has been a continual influence since my school days.

3. What is your unique approach to your craft, and how have you honed your skills?

My ceramic pods and small soapstone sculptures of hares and birds could be linked to Netsuke or Inuit carvings. They grew from being economical with my materials and evoke notions of collecting and gathering. My ultimate wish is for my work to be handled. This reinforces their tactile qualities and encourages greater use of our hands.

Many years ago I lost several pieces in an exhibition where visitors were encouraged to handle the work. My fault, but, like cuttings, they yearn to be taken – they are a long way from plinth-bound sculptures in galleries with ‘do not touch’ labels.

My work leans towards abstraction and employs modelling, carving, casting, assembling and printing techniques. I love innovating as well as working within limitations and I am often guided by the economy of materials. My solitary work, surrounded by the landscape of Orkney, is counterbalanced by collaboration with other artists, poets and craftspeople.

4. What is your defining or proudest moment as a maker so far?

Many years ago I was honoured to win prizes, awards and scholarships at the Royal Scottish Academy, first as a student and in later years as a practicing artist. Last year, I received a lovely email from two nurses in the USA who had bought one of my small soapstones. They mentioned how much the piece comforted and helped them cope in the Covid crisis. The effort they had taken to contact me, considering all they were enduring, was incredibly humbling and heartwarming. It is worth all the awards in the world when a client writes to say thank you.

5. What is your dream project?

I’d love to have more time to produce one-off sculpture pieces. Probably assemblages combining 2D and 3D, utilising a variety of natural materials and techniques. Several years ago I researched the use of natural pigments on stone, relating in particular to the archaeological site here in Orkney, the Ness of Brodgar. Inspired by the results I used these pigments in some of my own pieces. In this challenging and inspiring research work I had adopted primitive methods using only materials that would have been available in Neolithic times. Tools were of hard stone, basalt, flint and granite. Fragments of stone, clay, charcoal, merl (coral) or minerals such as haematite and lead were ground with stone pestles to produce a fine powder and mixed with various liquids such as water, blood, milk, fat, egg, seaweed and clay slip. Pigment was then applied using fingers, feathers, leather or fleece pads and willow sticks. Other work then took precedence and many ideas were shelved. As ever, they lie in wait.