Interview
Beate Grauduma
Beate Grauduma is a contemporary artist with a deep foundation in traditional, academic, and anatomic clay modeling. With over fourteen years of fine art education - including six years dedicated to clay modeling - she has honed her skills in drawing, oil painting, printmaking, studio photography and carving both stone and wood. She holds an MFA from The University of Edinburgh (2019) and a BA from The Art Academy of Latvia (2017). Her artistic work explores a diverse range of contemporary contexts related to the human body. She emphasizes the gesture through clay, capturing how the human form reflects the impacts of its environment and emotional experiences. Beate is particularly interested in how these factors influence the sculptural body as she model it in clay and the emotional resonance when the work is completed.
Traditional composition and modeling in clay, stone, and wood have always satisfied her intellectual curiosity, providing a solid methodological foundation. However, Beate is also drawn to interdisciplinary projects and experimenting with different mediums and materials beyond traditional sculpting. In developing her artwork, she intertwines material and concept, ensuring that the material itself becomes a significant part of the piece, supporting and highlighting the underlying idea. During her studies at The University of Edinburgh, she discovered working with wax, which has since inspired many works, including her degree show project - a series of self-portraits. These ten self-portraits reflect her observations in Scotland. While creating them, Beate was inspired by the reflections in surrounding mirrors. Though the visible shapes were substantial resources, the sculptures were primarily based on the emotional impressions she experienced while modeling the plastiline busts. Part of her work involves making molds of her sculptures, but for one self-portrait, she chose to create a body-cast. This approach highlighted the contrast between the exaggerated form of a modeled piece and the soft skin texture revealed through body-casting, initiating an experimental approach to her research and making. She aims for her artwork to challenge viewers, encouraging them to step out of their comfort zones and engage deeply with the pieces.
What is your background and how did you start your journey in the art world?
“My passion for arts, craftwork, and culture began when my grandfather introduced me to copper smithing at our forge. I have spent all my life watching how a thin and shiny copper sheet turns into plates, bas-reliefs and how a bar of steel transforms into elaborate gates. It is also the place where my own artworks have bourne in the fire of the hearth. From that, dogged, persistent hard-work and appreciation for it has been instilled into my daily life and I will never change it for anything. My journey in the professional art world began with a deep fascination for traditional sculpting techniques and a rigorous academic foundation. With over fourteen years of fine art education - including six years dedicated to anatomic clay modeling - I honed my skills in sculpting, drawing, oil painting, printmaking, studio photography, and carving both stone and wood. This technical mastery was shaped by my studies at The Art Academy of Latvia, where I earned a BA in Sculpture, and later at The University of Edinburgh, where I completed an MFA in Contemporary Art Practice.”
What does your work aim to say? Does it comment on any current social or political issues?
“At its core, my work explores the complexities of the human body - its physical presence, emotional weight, and the way it interacts with its environment. Through traditional sculpting methods and experimental interdisciplinary approaches, I aim to capture the essence of human experience, emphasizing gesture and movement as reflections of both internal and external forces. Clay, stone, and wood provide the foundation of my practice, but I am equally drawn to unconventional materials that challenge sculptural traditions and expand the ways in which form and meaning intertwine. While my work is not overtly political, it does engage with contemporary discussions surrounding identity, perception, and the evolving relationship between the human body and its surroundings. In my series of self-portraits, for example, I explore themes of personal reflection and transformation - both literal and metaphorical. Inspired by distorted reflections in mirrors, these sculptures examine the fluid nature of identity and the emotional impressions that shape self-perception. Additionally, my occasional use of body-casting highlights the contrast between the exaggerated sculptural form and the delicate texture of human skin, questioning notions of representation and authenticity. In an age where digital imagery often dictates how we see ourselves, this tactile approach serves as a reminder of the physical presence and imperfections that define human experience. Though my work does not set out to make direct political statements, it invites viewers to engage deeply with the emotional and psychological dimensions of the human form, prompting contemplation about the forces that shape our bodies, identities, and lived experiences.”
Do you plan your work in advance, or is it improvisation?
“My creative process strikes a balance between careful planning and intuitive improvisation. I begin by making multiple sketches, exploring ideas within a theme to establish a conceptual framework for the piece. These preliminary studies allow me to refine the composition and gain a deeper understanding of the material and form before I move to the final work. However, while I work within this planned structure, I also embrace improvisation during the making process - letting the material guide me and allowing spontaneous adjustments to shape the piece. That said, moderation is key, as many of my works are larger than life and require careful management; significant alterations can be complex and time-consuming. Therefore, my improvisation remains thoughtful and purposeful, ensuring that the final sculpture embodies both the initial vision and the organic evolution that emerges throughout the process.”
“My creative process strikes a balance between careful planning and intuitive improvisation.”
Are there any art world trends you are following?
“I don’t actively follow art world trends, but I do observe them and draw inspiration for future works. Trends often reflect shifts in artistic discourse, cultural perspectives, and material experimentation, which can spark new directions in my practice. While my work remains deeply rooted in traditional techniques, I am always open to engaging with contemporary movements - adapting certain elements that resonate with my artistic vision rather than following trends outright. This approach allows me to maintain authenticity while exploring fresh perspectives that enrich my sculptural language.”
What process, materials and techniques do you use to create your artwork?
“My work is grounded in traditional sculptural techniques while embracing experimental approaches that expand the relationship between material and concept. I begin each piece with extensive sketching to refine ideas and establish a strong compositional framework. These preliminary studies guide the making process while allowing space for intuitive adjustments. Material plays a crucial role in shaping the essence of my sculptures. Clay is a foundational medium in my practice, enabling fluid gesture and anatomical precision, while bronze, aluminum, steel, iron, resin, textile, stone, wood and different stoneware clays introduce a tactile weight that enhances the sculptural presence. In addition to these traditional materials, I explore wax, which has become a compelling medium for creating expressive forms and subtle surface textures. My techniques involve modeling, carving, body-casting, and mold-making - all of which allow me to explore contrasts between organic gestures and structured forms. In particular, body-casting has opened new pathways in my practice, revealing the delicate textures of skin and juxtaposing them against exaggerated sculptural interpretations. Through this interplay of materials and processes, I aim to challenge viewers' perceptions and encourage a deeper engagement with the physical and emotional dimensions of my work.”
What does your art mean to you?
“My art is both an escape and a confrontation. It allows me to break away from my inner demons, yet at the same time, it forces me to engage with reality in its rawest form. Working with clay gives me a unique freedom - an ability to express emotions and ideas that words cannot capture. The tactile nature of sculpting liberates me, translating feelings into form in a way that feels both personal and universal. Through this process, I navigate the tension between refuge and revelation, shaping each piece as a reflection of my own experience.”
What’s your favourite artwork and why?
“My favorite subject in art is, perhaps unsurprisingly, the human body. Each person carries a unique presence - not just in their physical characteristics, but in the emotions, experiences, and personality that shape who they are. As a sculptor, my role is to bring both the external form and the internal essence into a single artwork, ensuring that the piece is not merely a replication but a reflection of the individual’s identity. Working with clay allows me to explore the subtleties of human expression, the gestures that convey emotion, and the way the body interacts with space. A successful sculpture should capture more than just an accurate likeness - it should embody the personality of the subject, making them recognizable not only by their physical features but by the spirit that resonates through the material. This challenge, the pursuit of bringing life into clay, is what continually inspires me as an artist.”
Have you had any noteworthy exhibitions you'd like to share?
“I am currently represented by MONAT Gallery in Madrid, Spain. I have an upcoming exhibition through MONAT representation - Art World Fair Paris 2025. My previous exhibitions include: Curator and participant of duo-show ‘Collision’ at Edinburgh College of Art Sculpture Court (February 2019); curated and participated in a group exhibition ‘The Art’ at Whitespace Gallery, Edinburgh (April 2018). My small forms exhibition projects include: Medals exhibited at the China Numismatic Museum (CNM) from August through to November 2017 and at the Beijing International Coin Exposition (BICE) November 2017. I was a participant of an exhibition at the Provincial Museum of Ancient Arts of Namur from 2016 until 2017, International Exhibition of Contemporary Art Medals, FIDEM XXXIV (International Art Medal Federation). I participated in ‘Heritage’ - 7th International Medal project, FIDEM (International Art Medal Federation) in 2015.”
Instagram: @beate.grauduma
