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About the artist

Dauma Stirbyte, originally from Lithuania, moved to Ireland in 2007 and graduated with a BDes (Hons) from the National College of Art and Design in 2016. She was an international artist-in-residence at the London Clay Art Centre in Canada from 2017 to 2020. In 2018, Dauma received the Best in Show award at Fusion’s Emerging Artist exhibition, and in 2022, she was named a finalist for the prestigious Winifred Shantz Award for Ceramics. She has participated in the UPwithArt Silent Auction and Fundraiser for homelessness relief in 2018/19, 2022, 2023, and 2024. Dauma is currently represented by The Benz Gallery (London), Wall Space Gallery (Ottawa), and The Canadian Clay and Glass Gallery (Waterloo). She creates her work from her home studio in London, Ontario.

Statement

Through clay, I express my perspective - my interpretation of everyday moments and the memories that shape me. Lost between the past, present, and future, I often struggle to make sense of it all, seeking healing along the way. The tactile nature of clay allows me to explore these themes in a way that deepens my understanding of both myself and the world around me. Through this process, I reconnect with a sense of childlike wonder and curiosity. The act of creating, and the pieces themselves, offer a form of escapism, providing solace in expressing what cannot always be conveyed in words.

As a child, I found refuge in books about ghosts, aliens, and mythical creatures. I escaped into video games, music, and quiet, solitary spaces - imaginary worlds that felt safe and comforting. A large part of my childhood was spent on my grandparents’ farms, surrounded by animals and plants, a connection to nature that continues to inspire my work. I am particularly fascinated by the insect world, but my curiosity extends to all things botanical as well. I love creating peculiar, conceptually driven characters with rich surfaces that quietly tell their own stories.

Although my primary focus is sculpture, I also incorporate functional ware into my practice, applying slips and layers of glazes to create abstract, textured surfaces that embody my continuous exploration of meaning and expression.

About my process

I often take notes and jot down ideas on sticky notes, paper scraps, and on my phone throughout the day - and then transfer them into my notebook. I draw quick little sketches, fully realized pieces, or sometimes I will go back and forth between drawing and building. I collect various images of shapes, textures, colors, and anything else I find inspiring. I keep these in my notebook as well as hang them up in the studio. 

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All of my work is made using traditional techniques such as coiling, slab building, and pinching, and at times, I create my own press molds. For functional pieces, I layer slips, glazes, underglazes, and washes to build depth in the surfaces. I embrace the unpredictability of this process, choosing not to test anything beforehand - this aspect of my practice is all about letting go of control.

In contrast, the decorating of my Beetles takes a more controlled, almost illustrative approach, with a watercolor-like quality. The fine line detailing is a slow, meditative process for me.

I fire my work at cone 5-6 in an electric kiln. While my preferred clay body is cone 6 porcelain, I also enjoy experimenting with colored stonewares from time to time. The Beetles also undergo a much lower firing at cone 018 to apply the luster.

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