British artist Helen Burgess makes whimsical, handcrafted porcelain figures. “Nosey Mungo,” her collection, is filled of humorous, eccentric characters with large, expressive expressions. They stand out because each item has an own personality and frequently has an inquisitive or cheeky appearance.
The main goal of Helen’s art is to have fun and inject some humour into the world. The characters appear to narrate their own tales, urging viewers to grin and appreciate their inventiveness. Helen Burgess embodies the power of art that doesn’t take itself too seriously yet leaves a lasting impression with her straightforward yet endearing designs.
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We questioned Helen Burgess about her artistic journey and sources of inspiration since we wanted to learn more about the creative process. “I got my best grades at school in art and biology and was torn between the two when it came to choosing what to study at university,” she shared, revealing a lifetime passion of both art and animals. I always thought I would attend art school, but after learning more about the problems affecting our environment, I chose to major in geography. I eventually got a fantastic job at a local wildlife conservation charity as a result of this. I had to reduce my work hours due to fibromyalgia, which caused me to rediscover my passion for art. Evening pottery workshops sparked a new interest that gradually developed into a side gig. I feel incredibly fortunate to have this working pattern and have returned to integrating my two hobbies in life.”
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We wanted to know how Helen came up with her unique style, so we asked her to tell us. “The show Morph was a big part of growing up in the ’80s in the UK and I became obsessed with stop-motion animation,” she said, recalling the delights of her early years. After seeing everything that Aardman produced, I was certain that I would eventually work for them. People frequently remark that my recent work has an Aardman influence, which I find to be a great compliment.
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Each artist has a favourite medium, and Helen described how her use of clay enhances her artistic process. In order to accommodate her hand-building method, she explained that she uses clay that has a little grainy texture: “My two major clays are White St Thomas and Craft Crank. For creatures with vivid colours or a little smoother finish, I use the first one. My favourite underglazes are best applied to a white substrate. I think the crank clay is the best. When fired, it looks and feels like well-done toast and has a texture similar to sand. I apply this to creatures with a more straightforward finish, typically only a satin white gloss on some parts. The burned clay’s exquisite polish speaks for itself.
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There are difficulties in making clay sculptures, particularly for Helen, who balances her fibromyalgia with her artistic endeavours. “It can be quite physical at times, and there are days when I have brain fog and just not in the creative mood, which I know all artists experience,” she said, revealing how exhaustion affects her work. Additionally, I’m self-taught, which has its own set of difficulties because I do things the way I believe they should be done. But I’m aware that there must be quicker or better ways to complete tasks.
And that brings me to one of the journey’s most fulfilling sections. There is a very welcoming and supportive online community, and many individuals are eager to provide advice, which has been incredibly beneficial to me. Whether in person or virtually, I’ve met and worked with a fantastic group of artists over the years, and I’ve also gained friends in the process.”
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We concluded by asking Helen what she wants viewers to take away from her work. Like her crafts, her answer was sincere: “A little giggle or a smile and an appreciation of the incredible animals out there.”
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