The Journal of Australian Ceramics Vol 53 No 2 July 2014

Focus: Emerging
Emotional Intelligence
The art of Charlotte Le Brocque by Stephen Bird
All learning has an emotional base.
PlaID
In his recent BBC TV documentary about outsider art, Alan Yentob tried to define the difference
between 'art brut' and the established art scene. He says, "Official culture has a dialogue with art
history, whereas art brut is usually a monologue." I am not an enthusiast of black and white definitions
of art, but it is an interesting observation seeing as so much contemporary art is a reinterpretation of the
art of the past. In an education system that is increasingly driven toward homogenised artist statements
and concept-driven practice, I often ask myself whether it's possible for an artist who has gone through
a formal arts education to maintain some of the enthusiasm, passion and intuition of the untrained
artist.
Charlotte Le Brocque was born in Darlinghurst, Sydney, in 1991, but grew up (and now lives) in
Woronora Heights, NSW. Her father has a shop which sells and fixes power tools and her mother
worked for some time at the local library. Charlotte remembers setting her sights on being an artist
at the age of six, and her parents have always been fully supportive of that decision. Charlotte'S
grandmother, Viva Titterington, was a self-taught painter of imaginary landscapes. At high school
Charlotte was encouraged to paint by her art teacher, Catherine Harry, who also suggested that she
apply to study at National Art School.
For some artists a chance encounter with a certain medium, along with an encouraging tutor,
changes the direction of their art forever. This was the case with Charlotte when, in 2011, she studied
raku ceramics under the guidance of Don Court at National Art School. Don's enthusiasm for pottery
was contagious and I remember listening in admiration as he eulogised over a small pinch pot made
on the very first day of the course. And it was during the afore-mentioned raku class that Don's gentle
encouragement planted the seed in Charlotte's imagination which WOUld, over the next three years,
blossom into a body of work which has received much attention from some of Sydney's most respected
gallery owners. For the works presented in her degree show at the National Art School in 2012,
Charlotte also won the Sabbia Gallery Prize, which has led to a solo show at the gallery in 2014.
Charlotte's technique, developed during Don's class, was unassuming and rudimentary. It's the one
which many of us pass right by without a second thought as we develop skillS and refinements to
24 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 20'4