Tamara ‘Solem’ Al-Issa: The catharsis of ceramic-making

Tamara Solem Al-Issa is the sculptural artist keeping ancient ceramic heritage alive in every room. Her brand ‘Solem Ceramics’ uses methods as old as time to craft ageless statement pieces, gracing spaces with relics that stand guard over centuries of myth, culture, and tradition.  “Pottery has always been an essential tool within anthropology as a demarcation of time and proof of civilisation,” Tamara explains to Dazed MENA. “We are able to derive detailed information about what people ate and drank, how they honoured the dead, trading routes, community rituals, and so much more. I have always been interested in this medium because of this ancient yet timeless quality.”

Born and raised in Jeddah, Saudi Arabia, Tamara was persistently exposed to the arresting art and structures of the region. “I had romanticised the beautiful architecture, rich colours, textures, and the sea since I was a child,” the artist remarks. Eventually, this admiration for the region translated into her pottery when she started sculpting as a meditative hobby over seven years ago, a cathartic diversion from her rigorous studies in the biomedical field. Her skill proved productive, and what began as a hobby took shape as a career when she decided not to pursue her degree, instead opening her first studio in Toronto in 2021. Leaning into her art, Tamara found it to be a vessel through which she could traverse the history of her ancestral regions, moulding the old into the new. 

Solem Ceramics’ “Deep Blue” series exhibits hand-built, traditional shapes in a custom mixed cobalt blue, redolent in its own way for its viewers. In the SWANA region, the colour blue is known to possess mystical and possessive powers, punctuating each pieceTamaracreates with a hauntingly venerable feel. Tamara recently completed a third edition of the collection, which will soon be available exclusively in New York over the coming months. 

The artist designs these amphoras—many standing as tall as sculptures—with the techniques of her ancestors’ ancestors, using research to achieve the reminiscence of the region. “Many vase shapes of mine are directly inspired by archival photos of vases from the MENA region that I’ve collected over the years through research,” she delineates. “Islamic pottery was often intricately glazed in a rich blue hue, which is where my fascination with the colour blue comes from. Some of my earlier works depict direct imagery of foliage, architecture, and even photos of family members taken throughout the Levant region.”

Now living in Canada, Tamara shapes her ceramics with both her hands and her heart, her craftsmanship channelling and preserving her connection to the land she is still estranged from. “Engaging with my Arab heritage can sometimes feel like a one-sided conversation,” Tamara notes. The artist clings to the community she has formed of those similarly living abroad. “I can only draw from fragmented memories and the vivid stories told by my family. However, the opportunity to engage with the MENA diaspora in the place I now call home has given me the space to learn from others and share my experiences.”

Observing the SWANA region from the outside, the artist has observed significant growth in the creative scene in the Gulf, particularly in funding artist residencies and public art. “These opportunities, especially residencies, are still in their beginning stages and need lots of work to ensure artists feel comfortable and adequately supported,” Tamara comments. She also points out that international artists often receive more opportunities than local ones, a trend she hopes will change as the region’s institutions grow from within. “Instead of upholding stage prestige, these art institutions should focus on purveying cultural heritage and offering a space for theoretical reflection, which begins by focusing on spotlighting those within the region.”

Promethean at heart, Tamara has come to form an attachment to her craft and the grounding space it grants her. Sculpting ceramics has unfurled a realm for her to sit with her thoughts, and time away from it leaves the artist restless. To her, clay is a multidimensional mirror; affectionate, communicative, intuitive, and confrontational.“My creative process is fuelled by music, time alone, nostalgia, conversations with like-minded artists,” Tamara remarks. “Touching clay has become an essential energy output. If I go a couple of days without it, I get very antsy.”

The artist is now working on splaying her use of colour and shape, exploring a new range of techniques to create a more vast array for her upcoming collections. As always, her art will continue to embody the dialogues between past and present, earth and artist. “I’ve been trying my hand at creating a red pigment that’s just as striking as the blue, as well as more abstract, contemporary—almost humanoid—vase shapes,” Tamara reveals. “I’ve finished a few of these pieces, but am hoping to expand the collection and release them in the new year.”