Artist Profile: Barbara Murphy

By Ellen Samsell Salas

Potter Barbara Murphy discovered her passion when she took an art class as a freshman at Berry College. Since she was an art major, she was encouraged to try all art forms. “I had a blast,” she said. “I even built a pin-hole camera.” But it was clay that would consume all the time Murphy could give to it.

“It speaks to me,” she said. “I can’t get away from touching the clay. It’s therapeutic.”

Murphy’s affinity with clay has been an ongoing process of growth. For 25 years, she was a seamstress and graphic artist, fitting in pottery classes on nights and weekends, “my time,” she said, “to be with clay.” Not until 15 years ago did she say, “I’m a potter. I made it.”

Initially, clay was challenging. Learning to throw on the wheel was intimidating.

“It wasn’t instant gratification,” Murphy said.

Now, she continues to throw but also embraces hand building — rolling slabs of clay and fashioning them into bowls, plates, or other shapes. Five years ago, she also began sculpting with clay.

No matter which technique she uses, all of Murphy’s works are characterized by the interplay of shape, texture, color, and detail. Finding inspiration in nature, she fashions two- and three-dimensional birds, leaves, and feathers. She might bring an owl to life by mounting it on a piece of wood or make feathers and leaves appear to be floating by suspending them from strips of leather. Carved scoring softens feathers, adds personality to an owl’s face, or creates the veins of leaves, while appliqué of lace creates a variety of surfaces and enticing patterns.

Murphy’s choice of clay and her expertise with glazing and firing also add to the depth of her works. Liking its earthy appearance, she often uses brown speckled clay and adds to its gritty texture with her carved details as well as her glazing.

“When I use that clay, I try to leave some part of it unglazed, so that it’s different from the glazed areas,” she explained.

As another means of achieving unique effects, Murphy sometimes employs raku firing. This entails removing a piece from the kiln at its highest temperature and immediately immersing it in paper, wood chips, or sawdust because the quick cooling and combustion create unexpected finishes.

Still working three days a week at an open studio, still pursuing her love of several art forms, Murphy has remained dedicated to artistic growth and discovery.

Looking ahead, she hopes to be “totally out of my current comfort zone, which means doing big things, big sculptures. Five years ago, I didn’t think I would like sculpting. Now I can’t get enough of it. I can see a lot of improvement I need to make.”

For more information about Murphy or her work and where it can be viewed or purchased, please email This email address is being protected from spambots. You need JavaScript enabled to view it..