| Heather Maciak |
| ORIGINALS |
An Interview with Heather Maciak
Birthplace and childhood home
I am the eldest of five children- four girls and a boy. Although I was born in Bogotá, Colombia, South America, my father’
s oil industry career moved us to Canada when I was only three.
I spent my childhood in a wonderful old-fashioned neighbourhood in Calgary, Alberta, where every chance we had, all of
the kids would escape out into the streets to play kick-the-can or hide-and-seek. Four of us, all girls, had a club where we
swore one another to undying friendship. I think that my idyllic childhood had a strong influence on my work- I really
enjoy creating gentle, innocent, old-fashioned children.
When I was in grade six, my father was transferred to Houston, Texas, and we became instant celebrities- little Canadian
girls with funny accents.
Secondary education
On graduating from high school, I enrolled at North Texas State University, majoring in Fashion Design and taking a
wonderful range of both theoretical and practical art courses. However, my family returned to Canada partway through
my second year, and that was the end of my university career. The one drafting course I took at NTSU landed me a job as
a draftsman, and I continued to draft for a number of years. Eventually, my drafting became more specialized: designing
and creating logos, letterheads and maps for brochures, publications and slides for a number of companies. My drafting
experience has been invaluable for the study of proportions, designing patterns, creating my own logos and business
cards, and even for making up advertisements.
When I married and started a family, I cast around for something I could do at home, and I was drawn to working in clay.
I enrolled in a community pottery course, and I was soon sculpting a variety of little critters that sold first at craft sales
and eventually, in shops and galleries.
Early influences
My sister and I were very close, and we shared a passion for art. Together, we spent countless hours drawing whole
families of paper dolls, complete with elaborate wardrobes. When we learned to sew, we graduated to making original
costumes for our dolls, and before long, we were creating our own clothing as well, a joy that we still share.
Artistic influences and mentors
I developed a passion for doll collecting in 1982, initially to replace my own childhood dolls. By 1988, I had become
increasingly aware of artist dolls in the doll magazines. By then, I had been making clay figures for a number of years, and
a friend who was also a potter showed me a simple baby doll that she had sculpted in clay and dressed in a Christening
gown. I was fascinated, and since I already worked in clay, I naively thought it would be a not-too-difficult task to make
my own dolls.
When I started making dolls, I naturally turned to the medium I knew well- clay. However, its rough consistency didn’t
lend itself well to dolls, and the examples I’d seen in the pages of doll magazines were porcelain. I went to a local Seeley’s
studio and was amazed at what I found. Although the people I met made reproduction dolls, they were happy to share
their considerable knowledge about porcelain work and china painting, and this, along with a few articles from Doll
Reader magazine on sculpting and mold making, gave me my start. My first attempt at sculpting was a humbling
experience, but I persevered, and after a year of experimentation, some of it disastrous and some, positively inspired, I
completed my first doll. I entered her in a CAP (Canadian Artists in Porcelain) competition, where she won first place in
the original doll category. Never mind that there were only two dolls entered- I already knew that I wanted to become a
doll artist more than anything else in the world! Here in this wonderful new challenge was an art that would draw on all of
my previous experiences, from graphic design and costume design to sculpting and beyond! I found that all of my talents
came together in this one creative pursuit.
My biography wouldn’t be complete without talking about NIADA, which has influenced my doll art career more than any
other single facet.
In 1992, I attended my first NIADA conference, where I entered the guest artist critique. There was no question of which
doll I would take- my pride and joy, Jessica, all lace and platinum curls, had just been nominated for a DOTY (Doll Reader’
s ‘Dolls of the Year’) award. But because I had heard that the critique was a scary place, I decided to make a second doll,
just for fun. Standing only 10” high, “Doll Artist Tries the Direct Sales Approach” was a self-portrait of the artist, wearing
a cloak. Hinged arms opened to reveal the inside of the cloak, lined with pockets that contained tiny dolls, brochures,
information sheets and photographs. The critique turned out to be a lonely place for Jessica, who was never meant to be
an art doll, but “The Flasher”, as she was dubbed, fit right in. As for me, I was totally unprepared for NIADA, which was a
completely different world from the one I had seen in the pages of the magazines. I had never met other artists, nor seen
such incredible work. Until that conference, I had never considered my work as art. My vision of doll making was
changed forever, and I went home from NIADA with a whole new perspective.
What is the most difficult part of your work?
The most difficult part of my work has to be the mold making. Plaster is one of the most unpleasant materials in the world
to work with, and to pour it over a precious sculpture is a huge leap of faith! My first experience with plaster is a chilling
story- I was very new to doll art and was anxious to make a mold of my first ‘masterpiece’. In too much of a rush to do
anything about proper moldboards, I naively thought that a cardboard box would do the trick nicely. I was just starting to
feel comfortable about the whole mold making process when the front of the now-saturated cardboard box suddenly let
go, and the plaster whooshed out, down the kitchen cupboards, across the floor and up over me. It was everywhere! I
never make a mold without thinking of that first experience.
How do you balance the solitary nature of your work with the need for family and socializing?
Because I work at home, I never feel alone, and in fact, I do my best work at night, when there are no interruptions. I have
a comfy chair in each studio, where family and friends are always welcome to sit and visit (they usually have to move the
cat first!)
Was there, or is there, a major goal that you have set for yourself?
In 1996, I began the long process of applying for Membership in NIADA, the organization that had influenced my work to
such a great degree. I first submitted slides and then a portfolio, before being asked to present actual work for a vote by
the artist members. I was elected to NIADA in 1997. Since my first conference as a visiting artist in 1992, NIADA has
become an integral part of my work. It draws me back every summer, to see the work of the best artists in the world, to
rekindle old friendships, and to remind myself that I am part of a great network of people with the same ideals and
problems. It encourages me to strive for ever-higher goals, and I can’t imagine being a doll maker without it. I am
tremendously honoured to be an artist member of this prestigious group!
What do you like to do to get away from work?
My doll making absorbs most of my energies, and it often spills over from my work hours to become my leisure activity as
well. However, I have never lost the joy of creating clothing for myself, and I especially love to create pieced,
embellished vests. In addition, I am an enthusiastic writer, and have written articles published in magazines, as well as
putting together the newsletter for NIADA (The National Institute of American Doll Artists) for two years. I have a
passion for travel, preferring to rough it with a backpack, a train pass and a good pair of hiking boots, and I am always
planning for and dreaming about the next fantastic holiday. I thoroughly enjoy photography, with my favourite subjects
being my family, my dolls and my holidays. And most recently, I have rediscovered the art of stained glass. Initially, I
took it up after a twenty year hiatus, in order to teach it to my daughter, but it has become an exciting hobby that we now
share.
Are there other artistic avenues you would like to pursue?
Although I think it’s natural to wonder about paths not taken, I feel very lucky to have discovered doll making. It is such
an all-encompassing passion, and I really can’t imagine doing anything else.
Do you ever consider “retirement” or your “old age”?
I can’t picture myself ever retiring. Many doll artists work well into their old age, and I have so many ideas, so many
things that I want to accomplish, that I’m going to have to work very hard to fit them all in!
What has been your most popular work?
My father would tell you that the best piece I ever created was “Afternoon Fantasy”, an older lady in an easy chair,
shocked at the steamy page in a Harlequin Romance. The most popular piece as far as other doll artists are concerned was
“The Flasher”. I think the other artists could all identify with the concept of artists having to sell themselves. However,
my own choice, and that of collectors, for my most popular work would have to be “Lucie”. Sometimes when an artist is
creating a doll, everything just comes together- it’s like magic!
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