FINTY CAHILL

My process begins intuitively, sparked by a form, image or gesture that feels like it should last longer than a split second. I draw from my own interpretation of human and animal experiences. I sketch a lot. Although sketching is something that is integral to my process, noting ideas and helping me remember the fleeting moments, I can never pre-plan pieces. When I (occasionally) try to, the result is always different to the plan, often in ways which I prefer. Each piece evolves through a kind of conversation with the material - one that includes missteps, edits and chance. I would describe my practice as drawing in three dimensions. 

Clay is central to my practice. There is something deeply resonant about working with a material that has been used by humans for thousands of years, to build, to store, to decorate and still be surprised by the way it behaves. I love to experiment with different materials, charcoal, textiles, paints, wax carving, but I always circle back to clay. The tactility of clay is deeply natural. Something that comes from the earth, is moulded by touch and then eventually returned to the earth. I often use reclaimed clay and natural slips with very minimal glaze. These finishes allow the surfaces to remain tactile and open, preserving the evidence of the process and the touch. The marks in clay show its past, in a similar way that wrinkles reveal ones frequent expressions.

My inspiration comes from my daily life and visual interpretation of things that surround me. I like to think you can figure my recent activities and experiences through my work. For one, I worked at a fishmonger for several years, and as a result, there was a flurry of fish iconography within my work, which continues today. Experience is an ever-changing influence. If ever I am lost for inspiration, I try to get myself outside to sketch what is going on. I imagine and develop the stories behind the subjects I see and translate this into my work. A recent example is my attention to chairs and their emptiness — who has sat there? Why is it now empty? What has come and gone? These questions fuel the characteristics of these works. 

“While some of my work is sculptural, I’m increasingly drawn to forms that sit at the intersection of art and utility—vessels, tiles, wall pieces that can live within domestic space. I’m interested in how art can quietly be integrated into the rhythms of daily life, being handled and touched. I find that there is something powerful about making objects that are meant to be lived with. I love the idea of things being worn away or passed down.”

Finty studied Fine Art at Chelsea College of Art, London. Since graduating in 2022, she has been a member of Rochester Square Ceramics Studio, Camden. Her work has been exhibited at Alveston Fine Arts, Corner 7 and a number of group shows.