Interview: Emma Tate
The American ceramist Emma Tate (b. 1989) works from a small studio in the middle of the Jordaan area in Amsterdam. She has a talent to translate the complexity of horse anatomy into a basic, minimalistic form. In addition to her time in the studio, Emma is a keen dressage rider and spends her free hours at the stable. This profound love for horses stems from being around them for much of her life.
At what age did you become interested in art?
I always remember being interested in creative activities as a youngster. Throughout high school and early college years I took various art classes for fun. It wasn’t until my senior year in college I returned from studying abroad, in my early twenties, that I was advised by a friend to join a figure sculpting class. I was hooked after our first project. So much so, that I did a fifth year at uni so that I could continue sculpting. Although, it took me four years to begin sculpting again after school, I still credit my friend and that class to jump-starting my inner artist.
What makes the horse an inspiring subject for you?
After having a life-long connection with these animals, their shape, size, individual personality, and the fact that they can trust and bond with us humans, truly amazes me everytime I’m with them. I knew when I was ready to do a sculpture series it would be inspired by horses and the equestrian world. I have been lucky enough to grow up with horses all my life. My mother is a dressage trainer and my father is a blacksmith. Horses brought us together as a family and taught me a lot about trust, patience and responsibility. We had one very special horse that was in our lives for 28 wonderful years. I am an only child but most of our after school activities, weekends and road trips included Figaro, my giant, four legged brother.
How did you develop in your work?
I am still within my first year of sculpting after my hiatus but I find that each project I work is giving me a new perspective. During my education I have worked on life-size horses and human bodies. It was great to have the resources and space to be able to work on a large scale, but working in a smaller space with a smaller oven is now my challenge. This development makes me more concerned with the forms and techniques, I still learn every day. Development is something that naturally does not stop.
Tell us about your favorite horse moment.
I remember vividly the moment I first rode Figaro into the Dixon Oval at Dressage at Devon. A very special International equestrian event located in Pennsylvania. I was 14 years old and we were riding in the Junior Championships. I had heard from various riders, including my mom, that it is an unforgettable experience, they were right.
Another more recent moment I will not forget is riding a sales horse at the Glock Horse Performance Center. The only other rider in the arena was Edward and Hans was standing at the door chatting with my trainer. Talk about Nerves!
Who are your sources of inspiration, people for whom you admire?
Lately, I have been looking more at other artists and creatives as a source of inspiration. People who, despite their uncertainties, reach their goal in the creative field, that is for me an encouragement for my own process.
JTH
This interview was published in the December 2017 issue of Bit, nr. 252.
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