Featured Artist: Stefanie Smith

Stefanie Smith's World of the Watchers is an evolving story-building project that interweaves folklore and myth-building with ceramic sculpture and photography. The project began as a search for a greater sense of play and whimsy, in a practice that felt over-thought and overly serious. It has quickly taken on a life of its own, with the characters and story building upon themselves in unforeseen ways.

Smith is a ceramic artist from Canada, with something of a wandering spirit. Originally from Ontario, she has also been based in Newfoundland, Wales, Alberta, and Saskatchewan, and has participated in artist residencies around the world. She was recently a yearlong Artist in Residence at Medalta, Medicine Hat, and now calls Saskatoon home. 

A selection of Stefanie Smith's recent work from her World of the Watchers series will be on view in a Retail Window Feature at the Craft Ontario Shop from June 6 - July 12, 2026. Shop the Online Collection! 

Smith’s work moves and evolves as much as her place of residence does. While her first clay home was with hand-built pottery, she is now setting down roots in the world of sculpture. Presently her focus is on figuration, the power of play and whimsy, and the creation and interpretation of story.

Through all of her journeys through form and process, some elements travel with her: a passion for ornament, and a draw towards the natural world. Craft Ontario interviewed Smith before her feature collection installed; to talk about her shift to sculptural work from pottery and how the environment she works in deeply influences her work. 

Craft Ontario: Your current focus on figuration, the power of play and whimsy, and the creation and interpretation of story is quite evident in your sculptural work, and it is impressive how these aspects come through in all of your sculptures. Has your work always had this sense of whimsy? Can you speak to developing this style of your artistic voice?

Stefanie Smith: No, this has been a very recent development. When I was very young, I was always rewarded for realism, so this was what I leaned into subconsciously. As a result of this, I had long felt that any figurative attempts I made were always lacking in some way, were also a bit too serious, or not quite me. This was even true of my master's work. It wasn't until I was working in isolation after my graduate studies that I finally gave myself permission to play, and the Watchers are the result of that period. Looking back, I recognize that this series has been something of a process of neurodivergent unmasking, which has been a very interesting journey. 

You've travelled across Canada, as well as internationally for residencies, how has your environment affected your ceramic work? Is being on the move now core to the structure of your practice?

I've been lucky enough to do residencies in many different countries, from Tasmania, the Netherlands, Panama, Scotland, Mexico, and most recently Chile in the Atacama desert. I also completed my masters in Cardiff, Wales, so I spent quite a bit of time exploring the UK. While in some cases I'm choosing residencies for the facilities they offer, I'm more often choosing them for their location. The natural environment is a huge influence on me and my work, and I thrive on exploring different biomes and habitats. I'm particularly drawn to places where there are rich folklores and mythologies connected to nature. The Watchers developed out of my many wanderings through the Welsh forest during COVID. There is such an ancient energy about them, with their twisting oaks, climbing ivy, and dew-covered mosses, combined with endless medieval ruins. It felt as if there were faeries around every bend, and that feeling definitely informed my current body of work.
You mention a transition from pottery to sculpture. What caused this shift and do you still practise pottery?

I've had something of a circular path in my creative journey, and the shift from pottery to sculpture is part of that. My initial studies were in Fine Art and I had focused on sculpture and photography (though there was almost no clay as part of that). Years afterwards I was floundering, focusing on photography but sick of being at the computer and feeling uninspired. Through a friend I found clay in a craft context, and that completely changed things for me. After one drop-in throwing session I was ready to dedicate my career to clay, and I did. After some further studies, lots of workshops, and a few residencies, I started working full time as a potter.

I loved making pots, but after a few years I realized I could keep doing the exact same thing for years and would be comfortable, but I wouldn't really be challenged. At the same time, I was feeling more grounded in who I was as a person, and felt I had more to say than what my pots were allowing me. So I decided to uproot myself from my home and studio and refocus on sculpture. It's taken me a number of years to find my footing, but the challenges have been worth it.

I still make functional pottery, and it continues to bring me joy. Getting the sculptures out into the world has been a slow process, and pottery has helped me stay afloat, while also offering an energetic reprieve from the constant problem solving and decision making that comes with the sculptures. I can't imagine ever walking away from it entirely.