Sophie Holt
Sassy artist taps into her lineage.
Sassy artist taps into her lineage.
Born in Christchurch and raised in the Netherlands, Sophie Holt returned to Aotearoa in 2008 and settled in Motueka in 2012. She bought her current home four years ago to be closer to her kiln, as she finds she does her best work alone and near her tools.
“My kiln was here, and I’ve noticed I do my best work on my own and closer to where it is,” she explains. “And I’d moved around a lot. I think I’d lived in about 17 different houses. I was quite ready to settle down.”
Her studio, one of the three bedrooms, matches the color of her favorite raw material, clay. After Milan heads off to school, Sophie spends most of her day in her studio, accompanied by her labradoodle, Dusty. She describes her work process as highly focused, often losing track of time.
“You know it’s a good day when your tea gets cold; you’re in the zone. It’s the best feeling in the world.”
Creativity runs in Sophie’s family. Her mother, Lot Brandt, and maternal grandfather were both ceramicists. A glass cabinet in her living room displays family photos and clay objects they made, connecting her to her artistic lineage.
“My mum is a big inspiration for me. Even though I’ve got my own style, completely, I do see influences from her. I think I can steal her work because I’m her daughter. We share the same creative DNA.”
Sophie’s family history is rich with movement between the Netherlands and New Zealand. Her paternal grandfather moved to New Zealand after World War II, met her grandmother, and had four children, including Sophie’s father, Paul Holt. After a stint in Nelson, Sophie’s family moved back to the Netherlands when she was six months old. Sophie returned to New Zealand at age 20, feeling an immediate sense of belonging.
A significant project from her student days in the Netherlands, called Truttenware or "Art Tarts," involved transforming spaces with art, creating recipe books, and sewing quirky items.
Sophie moved to Motueka in 2012, joined the Riwaka Pottery Club, and began making her signature mugs and wall plaques. Her work gained recognition at the Great Christmas Market, leading to an invitation to join the Little Beehive Co-op in Nelson.
“It gave me the confidence to continue,” she says. “You can quite easily see what sells and what doesn’t. It grew steadily from there.”
Collaborating with Peter Vendelbosch, who throws greenware for her, Sophie enjoys the long, intricate process of ceramic creation. Despite the potential for things to go wrong in the kiln, she finds joy in opening it each day.
“Every day, when I open the kiln, it’s like Christmas. Still. And I’ve been doing it a long time.”
Sophie’s work spans various mediums, including clay, canvas, paper, and vegan leather. Her illustrations appear on products like tea towels, satchels, and notebooks through a collaboration with Tikitibu. Her whimsical characters, such as a grumpy cheetah, adorn a range of objects, reflecting her love for sassy, attitude-filled creations.
“Even though I’m a dog person, 100 per cent, I prefer to draw cats because they’re more sassy and they have an attitude, and I love things with an attitude. I love creating things that are not of our world like creatures with crazy eyes and flowers with faces. Like nothing is normal.”
Currently, Sophie is focused on creating larger pieces. She recently completed a two-meter-tall sculpture, a self-portrait expressing her imaginative world. Her mother, who suggested making postcards with cheeky messages, has been a continual source of inspiration and support.
Sophie’s journey reflects a blend of family heritage, personal exploration, and a deep connection to her craft.