Interviewing ceramicist Amanda Rybicka: “Working with clay is like a mini therapy session…”

Ceramic artist Amanda Rybicka is the youngest entrant at this year’s inaugural SA Clay Awards.

For Amanda Rybicka, serious issues can be addressed through the unserious – and produce art still worth being taken seriously. The 29 year old ceramic artist has used the power of play and fun as an effective method to interrogate the emotional landscapes that affect ourselves as adults, as well as our young selves that live within us.

Amanda was recently recognised for her work at the prestigious SA Clay Awards. Her love of working with clay flourishes from her gravitating towards eccentric shapes, wacky figures, and the grotesque. This being said, these works are often accompanied with good humour woven into the stories and personalities of each of her sculpted characters.

Art is often hailed as a meaningful therapeutic avenue: its offers of engaging the beautiful (or, ‘the light’), while simultaneously tapping into difficult feelings (or, ‘the dark’) is somewhat central to its power. While Rybicka’s work contains the light-hearted joys of child-like imagination, it uses this as an access point to arrive open and ready to engage more difficult conversations. The artist is generally considering the traumas surrounding gender-based violence, chronic illness, and accessibility within a South African context.

Prompted by its acceptance as an affiliate member of the International Academy of Ceramics (IAC), The Rust-en-Vrede Gallery and Clay Museum has announced the launch of the inaugural SA Clay Awards, which will exhibit its winning pieces until 7 December 2024 for the first time. A group of 10 respected international and local panelists – experts in their fields, ranging from renowned ceramic artists to revered academics – ensured that a wide range of viewpoints were part of the assessment of the works. This led to 50 works being chosen as the top final selection, including Amanda Rybicka’s piece ‘Fritzy Goes To Therapy’.

Fritzy is a character frequently featured in Rybicka’s sculptures.

Rybicka’s art-making draws from a powerful mixture of young wonder and mature wisdom. Her pieces reflect the type of work she conducts in her daily life: conscious advocacy for those less considered, whether it be through her work as a teacher, her activism within different communities, cinematography, or her running of her pottery collective ‘Bitska Ceramics’ – to support up-and-coming ceramic artists
and potters.

Simona Stone had the pleasure of having a discussion with Amanda – looking into her relationship with clay, as well as its role in her journey as a ceramic artist, as well as a human advocating for decency and healing for all.

Amanda Rybicka on working with clay and its power to heal

Simona (S): Congratulations Amanda on your prestigious involvement and recognition at the SA Clay Awards! It is such a pleasure to get to discuss your work with you. How about we start with you telling us a bit about your practice, and how you got to the ceramic processes you work with today…

Amanda (A): Thank you so much! It’s truly an honour to exhibit my work alongside so many talented individuals at the SA Clay Awards! I studied at the Michaelis School of Fine Art, majoring in sculpture, though my early focus was on casting and felting dog fur – quite unconventional, I know.

My first impression of the ceramics department was a comedic one. I thought kiln props were dog bones: a misconception that stayed with me for years until I realised their true purpose. It wasn’t until I left university that I truly dove into the world of ceramics, teaching pottery classes for children. This experience taught me how to pack kilns and glaze countless tiny creations. Working with children solidified my sense of play, as their raw creativity became a daily inspiration.

I then began the journey of saving up to buy a second-hand kiln, collecting supplies and finding every bargain possible to start up my own pottery studio. This was when things really took off and I truly experienced all that clay has to offer… including all the epic failures along the way (FYI, never impatiently look into the peep hole when your kiln is at 1000c – I singed half my fringe off!).

I began sculpting small clay characters based on people I met – exploring facial expressions and the stories behind first impressions. Then the pandemic struck, and cabin fever sparked a nostalgic release. I dabbled in mould-making and went on a Teletubby casting spree, transforming the beloved children’s show into macabre porcelain creations, including ‘Tubby Nunchucks’. After this eccentric phase (think Sid from Toy Story) I shifted focus to creating my own character: “FRITZY!”.

S: I’ve read such interesting notes about your particular relationship with clay… Please share what working with clay means to you. What is special about this medium compared to others?

A: Since I was a child, I’ve been captivated by clay. From school pottery classes to experimenting with Crazy Clay at home, I was mesmerised by the ability to turn imagination into tangible creations. Giving these pieces to others felt like gifting a piece of myself, and I’ve always believed my sculptures ‘come alive’ with their own personalities. This connection is why I’ve gravitated toward ceramics that brim with character and emotion.

S: Building on from that… Your work often centres around the intangible impacts that trauma can embed within ourselves and our bodies: do you find clay has a particular property that draws you to use it in expressing these pains and traumas?

A: Working with clay is like a mini therapy session. There’s something incredibly satisfying about moulding the material with your hands, transforming emotions – sometimes even trauma – into physical form that’s ultimately burned away in the kiln. If you don’t like what you’ve made, you can squash it and start fresh: a powerful metaphor for resilience.

The group aspect of pottery is equally therapeutic. In the classes I host, we’ve built a supportive community that shares life’s highs and lows while bonding over a common love for clay. It’s a space
where people come together to create, connect, and heal.

‘Fritzy Goes to Therapy’ is Rybicka’s piece recognised at this year’s SA Clay Awards.

S: Your award-winning work at the SA Clay Awards is ‘Fritzy Goes to Therapy’: please introduce us to this character, who is a recognisable figure in your line-up of works! Who is Fritzy, and what does Fritzy represent?

Fritzy gets his name from the phrase “on the fritz,” meaning something’s not quite working right. Each Fritzy sculpture tells a whimsical story of Fritzy with a humorous twist, blending art and emotion. Think of Fritzy as a story book character, always getting up to something. Fritzy is a character that embodies the complexity of human—or canine—experiences through Cubist abstraction and playful poses.

Each Fritzy begins as a sketch inspired by a feeling. Fritzy didn’t start off as a ceramic Dog- Fritzy started off as a continuous line sketch that I became obsessed with.

Drawing from art therapy principles, I shape Fritzy’s personality piece by piece, much like a child assembling Lego. Sometimes I throw the body on a wheel and alter it into geometric forms; other times, I prefer slab building. The process feels almost surgical—cutting, shaping, and assembling until a Fritzy is born.

Two consistent features define every Fritzy: a “butt-hole” for venting the hollow form and exaggerated teeth that can appear either as a grin or a snarl. I work with coarse grog terracotta and Walford China White stoneware clay. While the white clay is more prone to cracking, I’ve developed a technique of wedging cotton wool into the mix to promote even drying.

S: You are an inspiring advocate for accessibility amongst ranges of abilities, as well as a passionate engager in psychological well-being, healing, and supporting communities (for example, your collective OBviouZly ART). What is it about art that you feel allows you to best interact with these various social conversations?

A: I believe art and creativity are vital tools for self-expression and understanding the world around us. During life’s toughest moments, art has been my lifeline. Without it, I wouldn’t be the person I am
today.

This belief drives me to create spaces where people feel supported and heard. I’ve facilitated numerous art projects for trauma survivors, encouraging them to share their stories and find healing through
creativity. Currently, I nurture a pottery community that thrives on mutual support and connection.

I also teach art at a local children’s hospital and a government art centre, where I work with kids who lack access to art education. Providing these learners with a safe, creative space is essential for their well-being and growth. I aim to one day do my Masters in Art Therapy – but for now, “Fritzy goes to Therapy”.