Samantha Dickie is a Victoria-based contemporary ceramic artist, focused on abstract expressionism and minimalist sculpture within an installation practice. Following a Bachelor of Arts degree from Trent University, she completed a Diploma in Ceramics from the Kootenay School of the Arts, and attended residencies at the Sculpture Factory in Jingdezhen China, the Banff Centre and Red Deer College in Alberta, as well as the Klondike Institute of Art and Culture in Yukon.  She was an invited presenter at the 2017 Canadian Clay Symposium and has been awarded project grants from Canada Council, BC Arts Council, Alberta Foundation for the Arts, and the Yukon Arts Fund. Her work is regularly exhibited in public galleries across Western Canada, and is currently represented by the Jonathon Bancroft Snell Gallery in London, Ontario, as well as the Madrona Gallery in Victoria.



I am interested in the evolution of narrative in my art practice surrounding concepts of duality, containment, reclamation, contemplation and identity.  Rooted in the personal, the political, and the philosophical, I seek to create distinct geographies of space in each sculptural project.

Drawing on my background in feminist theory, I prioritize the natural beauty of imperfection, and intentionally preserve the raw, visceral and tactile beauty of clay through textural surfaces and abstract forms that entice a sensory experience.  My aesthetics of simplicity, multiplicity and un-adornment are purposefully articulated to draw attention to subtle aspects of the work, the encapsulated space inside forms, and the relationships formed between objects.

My belief that our humanness is essentially rooted in relational dynamics inspires me to work in large groupings of multiples and to create immersive installations that are equally felt as much as seen.  Each individual piece as a microcosm has a subtle simplicity, but when replicated and installed with multiple components the work becomes a macrocosm, imbued with a narrative of interaction.

As this attention to the relational is central to my work, dualities serve as a fulcrum for my practice and allow me to explore, both physically and philosophically, particular dyads such as subject/object, seen/unseen, individual/collective, viewer/viewed.

My practice consists of minimalist sculpture and abstract expressionism, and uses non- representational gestures to create art not solely as an object of contemplation, but also art as an experience.  I believe that artists do not ultimately own the meaning of their work; it is co-created and evolves as the work interacts with its environment and audience.  I am interested in how this interaction encourages the viewer’s own unscripted and personal narrative to emerge as they experience the work, thus bringing a variety of interpretations to the meaning of the work.