Artist Statement

I create a mood and feeling of dynamic tension in my work by playfully manipulating the planes and facets of the patterns against each other. The stresses that this creates help me to achieve the maximum impact within the overall design and also to push the boundaries of the material to its limits. When creating a piece, the most exciting moment for me is when my flat designs become dramatically transformed when charted over a structure and then taken to another level by heavily carving into it. The hue of the material body is crucial because I rarely use colour, I also rely on the piece itself to dramatise the tones and textures through the effects of light and shadow.

In my early work, I was exploring the boundaries of my newfound modus operandi, which was infused with Islamic influences drawn from heavily carved architecture. This led me to look to other examples of intricately carved and constructed buildings from all around the world. In addition, I was inspired by the repetitive motifs of patterns derived from the influences of North African surface design.

Delving deeper into these architectural influences and looking closer at structures of past and contemporary building styles, I discovered that I was also greatly intrigued by the internal space and the construction, which were articulated together on the external surface envelope. These relationships have informed my work as I strive to unify not only internal and external forms but also the parts to the whole. In this respect, I am reminded of the Greek principle of the Golden Section, namely that, the smaller is to the larger as the larger is to the whole.

Subsequently, my work was influenced by a new emphasis on the balance between masculine and feminine forms and contours. There appeared to be a distinct pattern of behaviour of the viewers emerging solely based on gender. In general, women gravitated toward the spherical forms with curvilinear contours whereas the squarer form with hard-edge contours tended to elicit more interest from men.

More recently I have become interested in cutting more dramatically into the original form, sometimes to the point where the form begins to distort and becomes no longer recognisable as a geometric volume.

  • …Although Cassell is creating in different media – and respecting the unique characteristics of her material while doing so – she is also intent on discerning just how bronze, glass, marble and clay can ‘speak the same language
    – Ian Wilson

  • The work is of a high standard and creates an interesting contrast to the Da Vinci drawing. Can see the evolution of the process and the sculptures convey different ideas and theories. An excellent artist.
    – Jina

  • She was sketching constantly and continually sought to transpose her drawings into sculptural forms. The surface as well as the shapes emerged together in sculpture which often combined enormous complexity with simplicity and unity.
    – Helaine Blumenfeld OBE FRBS Dlitt

  • Working mostly with ‘naked clay’, that is without the use of glaze or slip, Cassell first carefully carves and then smoothes and burnishes to remove any blemishes, so virtually making the surface ‘ disappear’, leaving the form clean and prominent
    – Emmanuel Cooper

  • The geometry and the mathematics involved in Halima’s work have the same effect on me as listening to Bach: she manages to get the same essential harmony of shape, form and detail. Her pieces are deeply fashioned, which is unusual in ceramics
    – Eric Knowles (Ceramics Expert)

  • It is not easy to put into words the effect that Halima Cassell’s remarkable ceramic sculptures have on you when you first encounter a well displayed section of her work
    – Zachary Kingdom

  • While working, Cassell becomes deeply involved in each piece to the point where she is unaware of her surroundings even watching her work on a piece for a few minutes, it is obvious that the process commands all her attention
    – Emmanuel Cooper

  • Her profound understanding of the geometric rules governing any given pattern, allow her to bend, or even break them.
    – Peter Randell-Page, Sculptor

  • Her signature material is clay, which she moulds and carves with natural authority and no little dexterity. Her crisply cut and satisfying forms live on in the mind… She is a force of nature.
    – Andrew Lambirth, Art Critic - Spectator Magazine

  • Halima’s work demonstrates incredible dedication and energy; one thing is clear, she will be among the future pathfinders and leaders.
    – Alan Grieve, Chairman, The Jerwood Foundation