A redesigned life: nursing care in ceramic art
Eleanor SwanThe artistic journey is that of transformation, resilience and an unshakable need to tell stories through his work. Originally from Ireland, she works as a full -time ceramic artist from her studio in Russborough House, a majestic house nestled in the shade of the mountains of Wicklow. The historic greatness of the house, as well as its lush environment, serves both as inspiration and backdrop for its creative process. However, the path of Swan to become an artist was anything but conventional.
Having grown up in the 1970s, she faced limited career opportunities as a young woman. Art has been rejected as an impractical pursuit, and her father insisted that she finds “appropriate employment”. She became a nurse, devoting 25 years to the profession, finally managing the theater of emergency operation in a large Dublin hospital. As she excelled in the field and found the fulfillment in the management of others, a feeling of absence lingered – a creative emptiness that she had not yet filled. It was only when she experienced a period of illness that she confronted with a question that changes life: if I had to die tomorrow, what would I regret the most? The answer was immediate – having never continued art.
This revelation has put everything in motion. Swan attributes to his nurse career to shape it as an artist, providing her with discipline, an intimate understanding of human vulnerability and a deeply rooted feeling of empathy. These qualities translate directly into its ceramic practice, where the narration remains at the heart of its work. Through clay, it captures stories that reflect the complexities of life, from personal reflections to broader societal problems.
Eleanor Swan: moments of clarity and artistic awakening
Swan’s first creative inclinations were triggered by an improbable source – a childhood memory of looking at his teacher knitting a pink cardigan at the age of 7. The process fascinated her, but it was the awareness that the teacher had intentionally omitted the buttonholes that left a lasting impression. This moment has crystallized an important truth: creativity has no rules. She advanced this state of mind, summarizing external trends and expectations, rather choosing to create a work that seemed authentic to her.
Throughout her years as an infirmer, she has remained engaged in creative practices, experimenting with painting, knitting, stained glass, weaving and the manufacture of baskets. Despite these artistic outlets, she felt an increasing need for formal education. It was only when she made the central decision to leave her nurse career behind her that she entered the world of professional art. Registration at the National College of Art and Design (NCAD) in Dublin marked a turning point. She initially intended to continue painting but was encouraged to explore unknown disciplines. On a whim, she spent three days in the ceramic department, and experience has changed everything. As she touched Clay, she knew she had found her real medium.
The transition to ceramics was more than a simple artistic decision – it was a moment of deep personal clarity. Working with Clay allowed him to reflect and create in three dimensions, opening infinite possibilities for narration. The tactile nature of the environment has resonated with it in one way that no other material had. This passion remains not decreased, her ideas evolving constantly as she pushes the limits of what ceramics can express.
Explore social stories through clay
Swan's artistic practice is deeply rooted in contemporary social issues. His work serves both as a personal and political commentary, addressing subjects such as housing attacks, migration, sustainability and perception of identity. She is inspired by current events, often listening to radio while working in her studio, absorbing stories that are manifested later in her art. Rather than simply creating aesthetically pleasant objects, she seeks to provoke thought and discussion.
One of his most significant pieces, just to listen, directly reflects his experience in nursing. This figurative ceramic work criticizes the often impersonal relationship between doctors and patients. During her years in the hospital, she observed how doctors would discuss cases at the bedside of a patient, sometimes speaking about elderly patients as if they were not present. The disconnection between the healer and the vulnerable individual needing care was something that she found deeply disturbing. Thanks to listening, it underlines the importance of human connection and the fundamental need for patients to feel heard.
Swan also likes to work in thematic frameworks for exhibitions, considering them as creative challenges that push it beyond its comfort zone. Whether it is large -scale installations or intimate sculptural parts, it continually seeks to extend the limits of ceramic narration. Its ability to merge crafts with a conceptual depth is what makes it so convincing, ensuring that each piece has weight beyond its physical shape.
Eleanor Swan: redefine the accessibility of art
Swan's artistic ambitions extend beyond its own studio. An important aspect of his practice is to explore how art can be made more accessible, especially for the visually impaired public. This interest led to a research project during her master's degree, in which she examined how museums and galleries engage in the tactile experiences of art.
His research led to a series of large -scale ceramic heads inspired by the distorted portrait of Francis Bacon. These pieces were designed to be experienced by touch, offering another way of engaging with art beyond visual perception. This work corpus was recognized, leading to solo exhibitions in Dublin and later to Taiwan at the New Taipei City Ceramic Museum. The impact was so deep that the museum created a permanent tactile art zone, where Swan's work remains exposed.
Despite the success of this initiative, she met with the resistance of many reluctant institutions to adopt the concept. She believes that fear and rigid traditions often prevent galleries from implementing more inclusive practices. Its ultimate goal is to see more museums adopting tactile art in a significant way, decomposing the barriers for the public who live the world differently. For Swan, art does not only concern creation – it is connection, accessibility and ensuring that the stories, whether sculpted in the clay or spoken by activism, reach as many people as possible.
You can follow Eleanor on Instagram: https://www.instagram.com/eswanceramics/
