Sandra Civitarese: Ceramics With A Twist

I met Sandra a couple of months ago when I attended an art show featuring the work of several local women. I recognized some of them but her work was new to me. When I saw the image of a chicken I made a beeline over to her table. There were some macabre looking Santas and a few pieces featuring the feral turkeys on our island.

I asked if Sandra had more chicken work and, if so, would she like to participate in this edition of When Art Meets Chickens. I sent her a list of questions to get her started. Since turkeys do meet the criteria of poultry, I have included them too.

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Who are you and what do you do? 

I’m an artist working mostly in ceramics (sculpture and pottery). I also paint and create with mixed media. My studio is Pigasus Art Studio where I use whatever medium I need to express my narrative.

Since receiving a BFA from the University of Calgary in 1982, I have had a successful art practice working in the art community in one capacity or another: from art consultant to art instructor. The vast majority of my practice is in ceramics. I create small batch pottery, both thrown to hand built, ceramic sculpture and still manage to make a painting or two. It is apparent that my painting abilities strongly inform my surface treatment of ceramic pieces. I enjoy the building or throwing of ceramic pieces, but my true enjoyment comes from surface treatment of these pieces.

A fellow artist who organized the Bonspiel Cup show in Minneapolis described my work: “While her works are accessible and recognizable in terms of subject matter choices, don’t be fooled… Sandra’s wry humor coats all that she touches like a velvet glove cast in iron. Laugh aloud with all of her works for sure, but be sure to lean in and glean a little more thoughtful awareness of the World According to Sandra, if you dare.”

What‘s your history with creating art?

I’ve been an artist all my life. I started my creative journey early on. One of my first memories was of me at three years old and my mother taking a trip to Italy to meet my grandmother. I turned four during that trip. One night I sat at a large table making a drawing. All marveled at my ability to draw at such a young age. They asked what I was drawing. It was The Beatles. Unfortunately I couldn’t count at the time and I only drew three instead of four. But it started a lifelong love of creating. I eventually continued to university where I earned a fine arts degree, not only pursuing the technical aspect of painting (my major at the time), but also the academic side which allowed me to dive more deeply into art history and develop the language used to accompany my creativity.

How has your practice changed over time?

My practice has changed significantly over time. I believe saying  “I got older and wiser” and “I’m gonna do what I want” are appropriate. I spent years locked into the “academic” approach to art. Everything I created had to have a thesis attached to it. At least that’s what I was telling myself. It had a constipating effect on my creative thought process. I was riddled with self-doubt. The art world at university was largely a misogynistic world and I was a naive girl from a small town who could draw well. There was no encouragement nor guidance except for the few female instructors who tried their best in this old boys’ club. It took me many years to cure myself of “some” of the self-doubt and just begin creating. I believe the turning point was when I became an art instructor and finally found a community of artists who were supportive of each other and became lifelong creative friends. The transition later in my career to ceramics, through the encouragement of my ceramic artist friends, helped to ignite more creativity. Advancing my skills in ceramics also enabled progress with my painting skills and themes.

What work is most fulfilling?

I find it all fulfilling. I have reached the point in my career that whether I’m creating for a show, a sale or just personal “tchotchkes” for the house or garden, I am finding joy and fulfillment in the creative process.

The ability to do what I wanted, when I wanted and trying not to give a damn about another person’s opinion has been a very long and arduous process. I’m still working on that last bit, especially in dealing with galleries. But with age comes some wisdom. The affirmation one receives from a person who has “clicked” with my work has been encouraging. But the process to see and appreciate this has been hard. I’ve had to rise above much of my self-doubt, as I’m sure most artists have, to look at all the positives and not focus on the negatives.

What memorable responses have you had to your work?

I’ve had laughter and also confusion with my art. The best ones I’ve had were with my Zombie Claus Christmas ornaments. I was involved with a show/sale before the holidays many years ago. It was a popular sale with lines of people waiting to come in and part with their money. The artists all stood around as our pieces were spread throughout the venue and we could lurk close by without intimidating the buyers.

I had a display Christmas tree set up with all my weird and twisty ornaments. An older lady noticed the tree, appeared to be excited at the prospect of ornaments and approached it. She leaned in closely to take a look, then repelled in shock and a little disgust. She immediately walked away. Shortly afterwards, another woman, using a walker and who appeared even older than “disgusted lady”, leaned in closer to the tree, and started laughing. I believe she bought four of the zombie Claus ornaments.

What motivates you to create?

I believe my motivation is an urge. When I don’t create, I feel terrible; when I do, I feel great. It’s for my mental health. I have too many things I need to say, express and communicate. If I bottle them up, I might explode. I guess my motivation is self-preservation.

First experience with chickens?

As mentioned before, we stayed in my Nonna’s house in Italy when I was very young. It was a rural home with olive trees and of course chickens. My Nonna had a large pen with about a dozen chickens. I was fascinated with these clucking creatures and of course the chicks. I learned to be gentle with them, which was quite a learning experience for a small child. One memory stands out: the first time I was allowed to go in the pen, I was so very excited. Unfortunately the chickens weren’t impressed with my presence and they pecked at my legs. For many years I thought chickens were assholes, until I moved here and met many of the local chickens and realized they were little characters.

Do you have chickens?

I don’t.  The local chickens, flora and fauna of this beautiful island have contributed greatly to my art in subject matter and inspiration.

How do chickens inspire your work?

As mentioned before, being in a more rural setting, I’ve been exposed to more wildlife and “not so wild life”. I’ve gone to visit our local farms and neighbours and have met their chickens. The animals and, yes, the chickens bring me a feeling of peace and inspiration. I’ve learned to appreciate chickens and their personalities and have wanted to convey that appreciation when depicting them in my art.

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Many thanks to Sandra for sharing her story and photos of her artwork, used with permission.