Visiting Tamara Al-Issa at the Solem studio
Removed from the constant drone of the Toronto bustle, an airy peacefulness blankets us when we make it up the staircase into Tamara’s studio where the local ceramicist spins clay into works of art.
Faint beatnik acoustic strumming on vinyl echoes softly throughout the background. It’s another layer of tranquility to the lofty sanctuary like the clay and paint that adorns the walls and columns stretching up to the high ceiling. Setting down our paintbrushes and clay—the pails of fresh flowers—our eyes all meet after remembering ourselves once we absorb our surroundings. It’s clear we’re all feeling the same thing. Hanging in the air like an intoxicating incense: the heavy presence of pure creative inspiration.
Solem (Tamara) seems to exist here as a distillation of this vibe just as much as the studio embodies her artistry. Creators are often rewarded when the energy they have put into their work extends to those who experience it from the outside. Solem’s graciousness to our reaction to her pieces speaks to the genuine spirit of this elevated grove, she gently takes in stride its effect on visitors as she begins the tour of her space and creative life.
Her practice is constantly evolving but her ethos stays the same—the act of throwing clay is a delicate balance of self-discipline, play, and connection to the elements.
Can you walk me through your creativity journey? When did you first consider yourself a creative person?
Since I was as young as I can remember, I considered myself a creative person. I recall wanting to recreate the world through sketching or building at any given chance and I remember being enchanted by worldly beauty in a very metaphysical way (ie. dust dancing in the sunlight, cats outside my window, heavy storms would make me very emotional). I still view my surroundings with the same child-like eyes, which led me to making the creation of art one of my main priorities.
Building off of that, what led you to ceramics?
I’ve always loved stone and its derivatives as a natural building material. It’s endemic to the Middle East which is where I grew up. I think that my feelings of longing towards home naturally led me to taking a drop-in pottery workshop 7 years ago. Since then, I’ve been teaching myself through watching others, trial and error, and I’ve been totally hooked.
As a self-taught ceramicist, what were your biggest struggles in the beginning and how did you remain committed to the craft through them?
Definitely comparing myself to others was my biggest internal struggle. Clay demands slowness. It is a slow craft and a very particular material which requires balance and commitment. I recall wanting to learn as quickly as possible in a very unnatural way, which led to failure after failure. I was extremely tough on myself. I honestly struggle with all of this until this day. Another huge struggle was finding the space to work. Anyone who lives in Toronto knows that finding a good studio (or merely EXISTING) is expensive and difficult. I worked out of my small apartment until I opened my studio two years ago, which I was extremely lucky to find during Covid.
How does your work with clay affect your well-being?
Working with clay requires the body to become the mind, and shutting my mind off from all the noise at least once a day by focusing on clay is essential to my well-being. Working with natural materials is inherent to our senses. I think that everyone should regularly ground themselves with earthly materials. You’d be surprised as to how at-home your senses feel.
It seems you're content with what you do everyday, which is more rare than people think. What advice do you have for people who want to find fulfillment in their work?
I think everyone knows to some degree that being content with what you do every day is extremely rare, haha! I wouldn’t say I’m content where I am, otherwise I wouldn’t be continuously exploring new ways to create. Rather, I am grateful– because it takes a certain amount of courage to subvert the workforce structure by taking on art full time with little to no financial capital. I would say… It’s common to feel a lack of fulfillment with your work. The world isn’t cut out for creative work, there’s a system carved out for us to make us compliant. If you’re a full-time creative, acknowledge the power you have by merely rejecting this system. Confiding in your kin is SO important. Needing support and reassurance is necessary and completely okay to ask of your community. Fulfillment will come with a balance of rest, support and spending your time in the ways that you want.
With another year wrapping up and that time for reflection creeping in, what is a moment you are proud of and will hold onto from 2022?
This year was full of ups and downs and looking back at this year in retrospect makes me feel proud of overcoming every moment in which I felt small, burnt out and depressed. I was able to impress myself with several new works and techniques despite the many lows. A moment that’s resonating with me lately is landing in Mexico City at the end of November and heading straight to the group exhibition BARRO-Clay and Dialogues, and immediately feeling at home with all the other ceramicists featured in the show even though I felt like a fish out of water! I knew no one there, I had no idea where I was and I was new to the city. That feeling of camaraderie among strangers reminded me of the reason I do what I do—earth connects us all, it is one of the languages we share.
Tell us about your upcoming exhibition! Are there any other projects you have coming up that you can share?
I just finished a group exhibition in Mexico City called BARRO-Clay and Dialogues, which was skillfully curated by Sarah Len featuring incredible ceramicists from around the world. From mid-late January, I will have my first solo exhibition called Deep Blue for DesignTO at CryBaby Gallery featuring a soundscape by sound designer Patrick Perez. It will encompass many recent sculptures that are reminiscent of my time living by the sea and distant feelings stemming from the memory of deep water. More information is available on the DeisgnTO website, and will soon be available on my Instagram page! In terms of other projects, I’m honoured to be a part of the Interior Design Show with Brett Paulin from Jan 19-22 featuring some of my light sculptures.
