Canne Holladay was born and raised in Birmingham, AL. She graduated from Auburn University, with a Bachelors of Fine Art degree concentrating in Ceramics. After graduation she moved to Seattle, Washington to be a 2016-2017 studio assistant for Deborah Schwartzkopf at Rat City Studios. Her artwork has been featured in exhibitions and publications in Alabama, Georgia, Washington, Connecticut, Philadelphia, and Colorado.
Holladay is fascinated with small aspects of life, from discoveries made in the dirt as a child, to the observation of how a person is the sum of the many individuals with whom they surround themselves. This interest in small parts reflects in her work. In addition to working with clay she enjoys spending time with loved ones, knitting, sewing, and baking.
Microscopic images, with cells clustered to form tissues, draw a parallel between the details and patterns in life and the routine of living. A cell can be defined as “any one of the very small parts that together form all living things.” I observe how a person is the sum of the many individuals with whom they surround themselves.
I am facilitating the consideration of how my functional objects uniquely relate to individuals. I consider how the form and adornment of each piece relates to its function, and how the external action of using the object relates to the body’s internal reaction. For example, a cup, an intimate object excites senses of touch, smell, and taste as one ingests its contents. Upon entering the body an internal reaction takes place as fluid is filtered throughout the body. I am interested in this rhythm of process within the body, and the layers of action and reaction are meant to be uncovered through use, as one might realize a friend over time.
How have you come to work with Rat City Studios:
Canne Holladay worked at Rat City Studios as a 2016-2017 Studio Assistant to Deborah Schwartzkopf. During her time at Rat City Studios she worked on a number of projects such as shelf construction, casting and pressing bricks, changing kiln elements, and printing t-shirts. In her own practice, Canne took the year to develop intimate sized functional work fired to Cone 6. Throughout the year the studio often had a form of the month, which encouraged everyone to explore forms like butter boxes, jugs, pitchers, teapots, and shakers. Canne used these challenges to expand her repertoire of form, think about how many pots work in a group, contemplate how curves and symmetry are important in her work, and to consider her patterns on different types of forms. Her year in Seattle at Rat City Studios was eye opening about what can be done and what must be done to work in and contribute to the field of ceramics.