Escapism through Romanticism: An Interview with Ashley Maxwell of NYX+LORE Ceramics

June 12, 2020

Written by Lauren Sumner

Can you share a bit about your background with us?

I was born in Atlanta and grew up bouncing back and forth between Georgia and Florida. As a kid and teen I always loved making art, so it was natural for me to follow that path throughout my college career. I received my BFA from the University of North Florida and my MFA from Georgia State University in Atlanta. I also completed the summer figure sculpture program at the Florence Academy of Art in Florence, Italy. I’ve taught ceramics at GSU, UNF, and currently I’m at the University of Hartford in Connecticut. Up until I started Nyx+Lore Ceramics LLC, my main focus was making and showcasing my ceramic sculptural work. Since starting my pottery, the majority of my sculpture work has taken a temporary spot on the back burner, but I am finding little ways I can incorporate it through Nyx+Lore.

What is the meaning behind the name NYX+LORE?

Nyx is for the Greek primordial goddess of the night. Lore is for all things having to do with fantasy lore, folklore, mythical creatures, fairy-tales, mythology, epic romances, and really anything that falls into the realms of ethereal and enchanted goodness. I wanted my name to incorporate my style—a little darkness, a little romance, a little kink, a little make-believe, and all things dreamy and ethereal.

I wanted my name to incorporate my style—a little darkness, a little romance, a little kink, a little make-believe, and all things dreamy and ethereal.

Do you have a favorite mythical lore?

I don’t have a favorite per say, but I do favor ancient mythological tales and creatures as a collective whole.

Your Instagram profile reads “Escapism Through Romanticism.” What do you love about Romanticism?

My entire MFA thesis revolved around the ideas inspired by the Romantic art period. During this era, the American, French and Industrial Revolutions were taking place. There was a lot of war, technological advances, strife, and all around uncertainty. I admire that artists during this time of revolution decided to paint the sublime beauty of the world instead of the harshness humanity was experiencing. There was a focus on passion, idealism, mysticism and the supernatural and that is something I am drawn to. I love that they focused on the beauty of being human in this fascinating world. Over the years I have thought about this mindset a lot, and what it means to be conscientious, proactive, and purposeful in achieving our version of happiness. I’m interested in how we choose to perceive, appreciate, and capture moments of our life. Then one day it occurred to me, what I was trying to do with my work was create little moments of escaping. I simply wanted to make beautiful and enchanting objects for people to enjoy, so that people to escape momentarily. I believe the core of my work can be described by three words: escapism through romanticism.

There was a lot of war, technological advances, strife, and all around uncertainty. I admire that artists during this time of revolution decided to paint the sublime beauty of the world instead of the harshness humanity was experiencing. There was a focus on passion, idealism, mysticism and the supernatural and that is something I am drawn to.

How would you describe your artistic style?

I classify my artistic style as Contemporary with touches of Neoclassicism and Romanticism.

How did you get into the art of ceramics? What other art forms do you practice?

When I first got to college I knew nothing about ceramics. I wanted to be an art major with concentrations in photography and painting. One day the ceramic professor, Stephen Heywood came into class and announced that there was a summer trip to Greece happening, and you could either take humanities or ceramics. I had already taken humanities so I had no choice but to take the ceramics course. I always dreamed of going to Greece (I was obsessed with everything about it) so I jumped on the opportunity to get college credit while experiencing the history and culture. Like many people who casually take a ceramics class, I became hooked and the rest is history! I no longer practice any other art mediums as I find clay serves and satisfies my artistic voice and energy.

What steps comprise the creative process you undertake to end up with the gorgeous ceramic products you create?

My creative process typically starts with an idea for a collection. I research images based on that theme. I often find poses I’m drawn to in classical sculpture books, turn of the century “porn,” or I have my husband take reference photos for me to use. During my research I pay attention to color scheme themes, and think about how I can translate those into glazes. I have a pretty set standard of forms I like to use; it’s just a matter of imagery composition I have to decide on. I use the ceramic technique called mishima to draw my design in my clay. Mishima is where you carve out your illustrations and then fill the line with color to highlight those carvings. In my case, I fill my lines with black underglaze, and then apply my other colors with a watercolor application. I always aim for a soft and dreamy under-painting before I apply glaze. I try to keep my glazing to transparent or translucent glazes as I feel it adds to the romance and doesn’t distort the imagery drawn on the form.

I try to keep my glazing to transparent or translucent glazes as I feel it adds to the romance and doesn’t distort the imagery drawn on the form.

What is your best-selling ceramic piece?

My best-selling piece would be a tossup between anything of the Red Collection (shibari-Japanese rope bondage) and the Mermaid Collection. Every collection goes pretty fast, but those two are the ones I get messages about the most.

A bowl from the Red Collection and pair of mugs from the Mermaid Collection.

Do you have certain motifs that you integrate into your work? If so, what are they and what do they symbolize?

My saying is that it wouldn’t be a Nyx+Lore without the floral designs weaving around the surface. I typically use peonies and roses in my designs. I use peonies, because they are my favorite flower, and they symbolize romance, prosperity, good fortune and compassion. I use roses because they symbolize love and romance.

It isn’t difficult to notice that if your pieces feature a human, the figure is always a woman. What message do you intend for your art to communicate through this unifying pattern?

It’s not my intention for any specific message to be communicated through the use of the female form. Though I am aware that some viewers might interpret it as underlying feminism and I’m okay with that. I first and foremost make art that I enjoy making, and the interpretation of others is solely up to them. That’s the beauty of art. I use the female because I love the curves and softness the female form has. We have beautiful, delicate lines. I think the female form is erotic and powerful. I don’t position them in overly sexual poses, but instead prefer more lounging, lackadaisical poses…much like what you find in classical and neoclassical art.