At 82, Pippin Drysdale, the celebrated Western Australian ceramic artist, continues to captivate audiences with her energy and humor. Her major retrospective, Infinite Terrain, opened in December at the Art Gallery of Western Australia (AGWA), marking a significant milestone in her illustrious career. The exhibition’s inception can be traced back to a fortuitous encounter with Colin Walker, AGWA’s director, at a private gallery opening several years ago.
Drysdale recalls the meeting with characteristic wit. “He said ‘oh do you go to the art gallery much?’ and I said ‘no, they don’t give a rat’s arse about me’,” she recounts. Walker’s response was a promise to change that perception, a promise fulfilled with the current exhibition.
The Journey to Infinite Terrain
The retrospective is the result of a monumental effort by curator Isobel Wise, who meticulously gathered works from Drysdale’s prolific 40-year career to narrate her creative journey. “Isobel has done an amazing job,” Drysdale acknowledges. Despite initial resistance, Drysdale admits, “It’s like the taming of the shrew — I’m not easy.”
Drysdale’s career, by her own admission, has not been one of struggle. Born in Melbourne in 1943 and raised in Perth, she always had a passion for art. Before turning to ceramics, she explored various ventures, including herb cultivation and crafting paper flowers. The pivotal moment came in 1981 when she enrolled in a three-year pottery diploma at Perth Tech, which led to further studies at Anderson Ranch in Colorado.
“I filled the car up, took them all down to the Freo arts centre to flog them, came home with $5,500 cash and threw it on the floor and said ‘I’m going to America’.”
Inspired by Global Travels
Drysdale’s work is deeply influenced by her travels. In the early 1990s, she spent months in Italy and later ventured to Tomsk, Siberia, for a residency. Her experiences in Europe and Russia were transformative, inspiring her OTT (over the top) series, characterized by bold blacks, whites, and lustrous metallics.
Subsequent travels to remote areas of Western Australia and the Northern Territory further shaped her artistic vision. Unlike many artists, Drysdale doesn’t rely on photographs or sketches. “I’m lousy, I just seem to absorb everything visually and emotionally,” she explains.
A Pivotal Partnership
Since 1992, Drysdale has collaborated with fellow potter Warrick Palmateer, whose porcelain vessels serve as her canvas. Palmateer’s influence was pivotal in 2016 when he encouraged Drysdale to explore the natural formations of Karlu Karlu/The Devil’s Marbles.
“Warrick was the one that said, ‘let’s look at the Devil’s Marbles’ and that was a big influence on me.”
This collaboration led to a significant shift in her work, moving from symmetrical vessels to organic, closed forms that echo natural landscapes. The resulting series is now prominently displayed at AGWA, offering visitors an immersive experience.
Looking Ahead
Drysdale’s work is internationally acclaimed, with collectors including Peregrine Cavendish, the 12th Duke of Devonshire. Despite her success, Drysdale remains committed to her craft. Her Fremantle studio, where she has worked for four decades, is filled with porcelain vessels awaiting her meticulous touch.
After a brief December hiatus, Drysdale plans to return to her studio in January. “I’ll start working in January, I’ve got a lot of blanks down there that I need to work on,” she says, highlighting the demanding nature of her art.
“There’s so many parts to it and you can never rest on your laurels. You have a little run where it’s fabulous then the kiln starts playing up and you just aren’t getting the glazes to fuse.”
Reflecting on her career, Drysdale acknowledges her good fortune. “I have been born under a lucky star,” she muses. “I’ve been so loved and somehow one door opens another shuts, and I’ve just had the most amazing journey of a lifetime really.”
