Georgia Stevenson's work is a testament to the power of embracing the unexpected and the beauty of the unknown. Her journey into the world of ceramics began with a unique intersection of her architectural training and a deep-seated curiosity about materials. With a background in architecture from QUT, Stevenson's approach to ceramics is grounded in material research and a desire to explore the potential of locally sourced, often overlooked, materials.
Her 'Breaking Ground' research project is a prime example of this. It started with a simple yet profound question: What properties give materials their unique colors and textures? This curiosity led her to experiment with local clay, brick, concrete, and glass, transforming them into tiles and objects that are defined by process and chance.
The process of sourcing and transforming waste materials is a delicate dance. Stevenson's early attempts at reaching out to builders and architects for materials were met with a sense of community and generosity. However, the abundance of materials and the ethical considerations of collecting them led her to a more sustainable approach. She now focuses on using materials that are already abundant, like brick, concrete, and glass, often found on construction sites.
The technical challenges are numerous, but Stevenson embraces them. Incorporating materials without plasticity into the clay body is a significant hurdle, but she adapts her techniques, leaning into hand-building methods like rolling. Her architectural training comes into play here, as she works within the constraints of the materials, allowing them to lead the way.
The applications of her work in architecture are diverse. Stevenson's creations have been applied as tiles in residential and commercial spaces, adding a unique, handmade touch. The potential for her materials extends beyond tiles, into landscaping, urban design, and public spaces, where the provenance and history of the materials can be celebrated.
The response from clients and collaborators has been overwhelmingly positive. The idea of using 'waste' materials is no longer seen as such, but as an existing resource. Collaborators and clients are open to bold choices, celebrating the finished material and its story. Stevenson's work not only transforms materials but also transforms perceptions and relationships with the built environment.
The knowledge sharing aspect of her work is crucial. Through her website, material catalogue, and Alternative Ceramics Supply platform, Stevenson is making this information accessible to other potters. Her aim is to reduce landfill waste and empower others to create meaningful work, taking control of the supply chain. Stevenson's journey is a testament to the power of embracing the unexpected and the beauty of the unknown, both in her work and in the world around her.
