At 82, Pippin Drysdale, a renowned Western Australian ceramic artist, is still brimming with life and laughter. Her major retrospective, "Infinite Terrain," opened at the Art Gallery of Western Australia (AGWA) in December, and its creation is a testament to her vibrant spirit and a chance encounter with Colin Walker, AGWA's director.
The two met at a gallery opening, and Walker's enthusiasm for Drysdale's work sparked a journey that led to this incredible exhibition. Drysdale recalls their first meeting, where she playfully dismissed the idea of being an "art gallery" artist, but Walker's persistence and note of encouragement set the wheels in motion.
"Infinite Terrain" is the result of curator Isobel Wise's meticulous effort to gather Drysdale's prolific work from the past four decades. It's a narrative of Drysdale's creative evolution, and she couldn't be more grateful for Wise's dedication.
"Isobel has truly outdone herself," Drysdale exclaims. "It's like she tamed the wild beast that is me! Seeing my entire journey come together like this is a wonderful feeling."
Drysdale's path to becoming a renowned ceramic artist was far from conventional. Born in Melbourne in 1943, she grew up in Perth with a love for art. Before ceramics, she had various ventures, from growing herbs to making paper flowers. It was in 1981 when the urge to create pottery took hold, and she enrolled in a three-year diploma course at Perth Tech.
"It was a wild ride," she reminisces. After completing her course, she funded a trip to the US by selling her work, an adventure that led her to Anderson Ranch, an arts center in Colorado, where she was immersed in diverse cultures and learned from amazing lecturers.
"I was incredibly fortunate. Everywhere I went, I felt like I landed on my feet."
Upon returning to Australia, she settled into the Fremantle cottage her father had bought for her, where she still resides and works. She then pursued a Fine Arts degree at Curtin University, which she describes as an extraordinary experience.
Travel has been a significant influence on Drysdale's work. In the early 1990s, she spent months in Italy at the Grazia Maioliche di Deruta factory, followed by a residency in the Siberian city of Tomsk. She recalls the adventure of being among the first English-speaking visitors to Tomsk after Russia opened its doors to the world.
"It was like living in a Fellini film. We were swept up in a whirlwind of crazy events, from stolen handbags to missing passports."
These European experiences inspired her "OTT" (over the top) series, characterized by bold blacks, whites, and lustrous silver and gold.
In the late 1990s, she shifted her focus to the remote landscapes of Western Australia and the Northern Territory, which left her humbled and inspired.
"I was blown away by the beauty of these places. At 50, I felt so fortunate to explore these gorges and camp in the Bungles."
Drysdale's work is deeply rooted in the landscapes she encounters, yet she doesn't rely on photographs or sketches. She absorbs the visual and emotional essence of her travels, letting her creativity flow naturally.
"I'm not one for writing down my thoughts. I just experience it, and the ideas come to me organically."
A pivotal collaboration with fellow potter Warrick Palmateer has been instrumental in Drysdale's practice. Palmateer throws the exquisite porcelain vessels that serve as her canvas, and their partnership has pushed her work in new directions.
"Warrick has been a game-changer. I'm certain my work wouldn't be what it is today without him."
In 2016, Palmateer encouraged Drysdale to explore the Karlu Karlu/The Devil's Marbles in the Northern Territory, which led to a shift from symmetrical, open vessels to more organic, closed pieces inspired by natural formations.
"Warrick's suggestion to look at the Devil's Marbles was a turning point for me. I was ready to create something more sculptural, and he was a brilliant guide."
The resulting series, now on display at AGWA, showcases Drysdale's talent for creating superb landscapes. The works are presented on wide plinths, allowing visitors to appreciate them up close without the barrier of glass.
Despite her success, Drysdale remains humble and driven. Her backyard studio is filled with pure white porcelain vessels awaiting her meticulous glazing, etching, and sanding.
"I'm not slowing down anytime soon. I have a lot of blanks to work on, and each piece demands hours and days of dedication."
Drysdale's work has gained international recognition, with a notable collector being her friend, Stoker Devonshire (Peregrine Cavendish, 12th Duke of Devonshire).
"Stoker has been a wonderful catalyst for my work. We've become close friends, and I've had the pleasure of staying at Chatsworth House many times."
At 82, Drysdale's career is a testament to her talent, perseverance, and the power of serendipitous encounters. "Infinite Terrain" is a celebration of her extraordinary journey, and it's on display at the Art Gallery of Western Australia until April 6, 2026.
"I've been incredibly fortunate. My life has been a series of open doors and amazing experiences."
What do you think? Do you find Drysdale's story inspiring? Do you believe luck plays a significant role in artistic success, or is it purely a matter of talent and hard work? We'd love to hear your thoughts in the comments!
