Rising Star: Mellaney Roberts 

Through shaping monumental forms, ceramicist Mellaney Roberts explores shifting identities, memory and the meaning of home.  

WORDS Jo Buitendach PHOTOS Rupert de Beer 

How can you not be drawn in by Mellaney Roberts’s warmth, and her passion for her craft? She speaks of hugging her large ceramic works goodbye before they go off into the world – to collectors and collections – with a tenderness that reflects her deep connection to clay. As one of South Africa’s exciting emerging voices in contemporary ceramics, this multi-award-winning artist and academic sees clay as a sacred medium – a vessel for memory and storytelling. 

Her intuitive hand-building process begins with sketches, and unfolds through a tactile dialogue between form, feeling and place. 

With an MTech from Nelson Mandela University and a PhD in progress at the University of Johannesburg, Mellaney balances teaching with a growing national and international presence. From local exhibitions to international residencies, her work is gaining recognition for its contribution to contemporary ceramics. Here, she shares her creative process, and the influence of her small-town childhood. 

“I was born in Willowmore, a small Karoo town in the Eastern Cape, and spent much of my childhood with my grandparents in the Baviaanskloof. Growing up in a large family within a close-knit coloured community, I was fortunate to experience the simplicity and humility of life in mud houses. I often think about those spaces – so fragile yet enduring – and the stories and histories that they carry. The Baviaanskloof, with its rugged beauty and rich biodiversity, gave me a childhood immersed in nature and a sustainable way of life.” 

“When conceptualising my work, I find myself drawn to my roots, to the place of home, and to my coloured identity. I reflect on race, the complexities of interactions within my community, and the landscape that shaped me. These reflections lead to self-exploration, making me question my place in society and the art world as a coloured female.” 

“I’ve become increasingly curious about my surroundings – people, places and objects, as well as history and the passage of time. This curiosity has led me to create ceramic sculptures that explore my place in society, particularly issues of race, gender and identity. Through these works, I examine how our identities shift when we experience different spaces.

“My series ‘Somewhere In Between and Not Represented’, ‘Contained/Within’ and ‘Response’ reflect my experiences of relocating, and the fluidity of borders, both physical and cultural. The sculptures often feature cuts, piercings and demarcations to symbolise divisions in identity and the way boundaries can be blurred. These forms act as a metaphor for how our sense of self evolves, and how objects can evoke memories and meanings beyond their physical presence. 

“As I developed these works, I began to see the shapes of my sculptures as reminiscent of clay dwellings and landscapes tied to my heritage in the Baviaanskloof. This inspired my series ‘Abide with Me’, named aft er a hymn my grandmother sang as a prayer of protection. The work focuses on the concept of home, a space that offers comfort, protection and belonging – both geographically and emotionally. 

“Through ceramic sculptures, I delve into the idea of home as a place of memory, spirituality and community. The forms question the relationship between object, space and time, exploring what it means to feel ‘at home’, and the emotional and physical connection to the places we hold dear.” 

“When I’m creating my ceramics, I usually start by reflecting on designs in my journal. I’m a hand-builder by nature, but the process is often guided by my sketches. From there, I decide which techniques and methods will best help me realise the vision I have for each piece. The decoration process is more intuitive – I allow the form to guide the final outcome.” 

“I don’t have a typical day – and I prefer it that way. Everything depends on the goal, whether at work or in the studio. What remains constant is the need to create a moment to work in the studio; it grounds me and allows me to explore various ways of looking at my practice.” 

“I really admire the work of American multidisciplinary artist Simone Leigh, as we explore similar themes. I’m especially drawn to her sculptures and the passion with which she speaks about her practice, as well as the way in which she visually presents her work in connection with those themes. 

“I’m proud of all my works. I’m one of those artists who hugs each of their pieces before sending them out into the world. Sometimes, creating them comes with great difficulty – but at the end of the day, there’s a deep sense of pride before they leave the nest.”

“I’m currently working on a solo exhibition titled ‘Waar bloed nie loop nie…?’, which will run from 28 June to 23 August 2025 at Berman Contemporary in Johannesburg. And in September, I’ll be participating in an International Artist/ Art Educator-in-Residence programme at PH Weingarten in Germany, where I’ll be teaching and producing new work for an exhibition.” 

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