Two-Time Winner Of Dubai Ceramic Award. Dana Najia

by Sophie She

Two-Time Winner Of Dubai Ceramic Award. Interview With Dana Najia

27 Aug 2024

Ceramics is one of the oldest artforms that is definitely hot now. Mindfulness, art therapy, meditation — ceramics are all in one. But drama is everywhere. Porcelain is known to be “the diva of clay”; it is a complex medium to work with, but its beauty is unbeatable. The most precious ceramic pieces are often made of porcelain, because it allows one to create the details and “senses” of the real world.

In Dubai’s ceramic scene, one particular artist has mastered this art form to the ideal — Dana Najia, known as D Bloom Bird. With a deep reverence for nature and an intuitive approach to creation, Dana’s work captures the essence of fragility, strength, and connection.

In this interview, we will delve into how Dana and porcelain found each other, her inspiration, challenges and creative path.

— What first inspired you to become an artist?

— I don’t think you ever "become" an artist — it is a visceral need to express and create — like a character trait that you can’t help but have.

I was discouraged from going to art school and repeatedly told that art can’t pay bills and that it is best kept as a hobby. So, I studied architecture instead, and for years, I simply dabbled in many crafts: I used to handmake stationery, jewelry, home décor items, and repurpose furniture, all of which helped fulfil my need for a creative outlet.

— What drew you to ceramics as your primary medium, and how did you get started in this field?

— I never intended to get into ceramics. But in 2018, it was our twentieth wedding, and the traditional gift for that milestone was "china". I thought it would be romantic to make my husband a gift. So, I bought my first bag of porcelain clay. I never once thought that a few years later, I would be a "working ceramic artist".

— How does this material [porcelain] embody your artistic philosophy?

— I started my ceramics journey using porcelain, not knowing at the time that it had the reputation of being the "diva of clay". It is renowned for being temperamental, sensitive and "difficult to work with". However, in my opinion, no other clay body comes close to emulating all the qualities that I love about nature. Porcelain perfectly captures the paradox of nature’s fragility and resilience: this is a recurring theme in my work.

Photo: Dana Najia's personal archive. Works: "Plumeria Moon" (2023), "Plumeria Eclipse" (2023)

— Who or what are your biggest artistic inspirations?

— There is so much inspiration everywhere in nature all around us: flowers, corals, birds, seeds, shells, rocks, feathers, fruits. I love textures and repetitive patterns.

For my figures, I draw inspiration from emotions, spiritual quotes, poetry, and life events — everything is an opportunity to be inspired and an opportunity to heal. In fact, "clay" is the most ancient healing remedy known to mankind. It is used on the skin as a poultice to draw out toxins from the body, and it has properties that get absorbed into the skin that are beneficial to the body. Ancient texts advocate that we are made of earth and water, so it is no wonder then that a few hours spent with clay in your hands is therapeutic and good for the mind as well as the body.

— Who are your top 3–5 favourite artists/sculptors?

— Alberto Giacometti, Bruno Catalano, Antoine Josse, Vanessa Hogge, Valeria Nasciemento.

— Can you describe your creative process, from conceptualising a new piece to its final form?

— With my nature-inspired pieces, I begin with a form and a small single element that I replicate with which I "clothe" the form.

Then it is just a case of relinquishing control to a baptism by fire in the kiln — and the kiln is the ultimate litmus test of the success of all your work and attention.

The kiln is the exam board — whether you pass or fail in your endeavours — porcelain is fired at the highest of temperatures, and it is the fire that finally allows porcelain to reach the pinnacle of its potential and beauty.

I rarely glaze porcelain, certainly not parian or royal porcelain, allowing its inherent properties, like translucency and its many shades of white, to take centre stage. In fact, many times, I skip the lower bisque firing entirely [a slow firing up to 900 degrees Celsius, after which a piece is ready to be glazed], and take the piece from bone-dry porcelain straight to a high fire [up to 1300 degrees Celsius].

With my figures, I work much more freely and intuitively. It is like a release from all the focus, precision and details of my other work. I rarely know what they will become or how I will present them until after they are fired. These pieces go through two firings as I do glaze them mostly in white or bronze effect glaze after the first bisque firing.

My studio has many interesting offcuts of natural wood, some from my garden and others picked up from the myriad of timber supply yards around Dubai. Some I then sand and stain, other more interesting ones I keep as they are — they become the "home" or the setting for my figures. It is only at this final stage that they tell me their story, and I find their name. Usually, I make symbolic additions at this stage, such as a parian book or flower, a twine length, or a bird or two.

Photo: Dana Najia's personal archive

— What message or emotion do you hope your audience takes away from your oeuvre?

— Connection, affinity, empathy.

— How do you approach the concept of imperfection in your ceramics, given the nature of handmade art?

— I believe imperfection is what makes a bona fide piece of handmade art.

In ceramics, there are so many stages at which things could go wrong: break, melt, or even explode in the kiln. Imperfections often become a part of the story, sometimes making the piece even more meaningful.

— I am absolutely stunned by the details in your work. How much time does a piece like "Revolution" 2022 take?

— When I start a piece like "Revolution", the momentum takes on a life of its own, and the joy of working on a piece like this is the repetitive nature of the process.

I made a couple of study pieces before I started it (Parian Rose and Evolution), and once I worked out the order and process of the work, it took me approximately two weeks to make the big "Revolution".

"Revolution" (2022)

— Is there any particular favourite piece of yours?

— Pieces that challenge me, or even scare me, ones that get me out of my comfort zone — these usually come through commissions.

I would say my favourite piece is usually the one I am working on at the moment.

— Would you say there has been a particular rise in interest towards ceramics over the past couple of years? Why do you think this happened?

— Absolutely, ceramics are definitely having “a moment” right now. When I started in 2018, there were only one or two ceramics studios in Dubai, and today there are over 10!

I think there is a greater need for downtime — time away from work and technology. Trends like mindfulness, "grounding" yourself, and digital detoxes have all contributed to the rise in popularity of learning new skills, embarking on artistic pursuits, and fostering creativity away from the "noise" and fast pace of life.

I also believe that our "throw-away" fast consumer culture has created a space where finding a unique handmade piece is a simple pleasure to indulge in.

— What has been the most rewarding moment in your artistic career so far?

— I suppose the most rewarding moment is completing a challenging project or piece and having proof that if you put your mind to something, you can do it.

Having said that, I have had some wonderful, unexpected opportunities and met a beautiful, like-minded community of people.

— How would you describe your art in five words?

— Evocative, sensitive, poetic, ethereal.

by Sophie She

Two-Time Winner Of Dubai Ceramic Award. Interview With Dana Najia

27 Aug 2024

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