“Oh, look, there's a blue heron,” exclaims Libba Tracy as one flies across her 11-acre Black Mountain hay farm during our interview. The renowned ceramics artist interrupts her story about Hurricane Helene’s destruction of Highwater Clays to point out the large wading bird cutting across her patch of Western North Carolina’s midday sky.
“Our little corner of the universe, we always called it Camelot. Every season was equal, and it was paradise.” She pauses. “Until now.” Last September, Libba’s Shangri-la was shattered when Category 4 tropical storm Helene swept through the region. The storm unleashed torrential rain and peak winds of 140 mph, uprooting decades-old trees on her Black Mountain property. “Helene took down all my beloved big trees,” she recalls. “Now, people are afraid of the trees. That feeling was unheard of for us.”
Until recently, Western North Carolina was viewed as a climate refuge, somewhat insulated from the most severe effects of global warming. Now, many local artists making climate-themed art, including Libba, are confronting the harsh realities reflected in their work. With titles like “High Tide” and “Prayer for Bear,” Libba’s playful ceramic critters address pressing climate issues while celebrating the wonder and joy of the natural world. “In my work, there’s a thread of concern for the environment and love for animals,” Libba explains. “I want to communicate this message without dwelling on the gloom and doom of the threats we face, such as the disappearance of various species. That’s why my sculptures incorporate an element of whimsy.”
A former children’s book illustrator, Libba infuses her work with a playful spirit, crafting animal characters that evoke the innocence of childhood. By introducing whimsical elements—like wheels that suggest movement and adventure—she captures her audience's imagination and highlights the urgent plight of endangered species. “You could relate to [my sculptures] as a memory of playthings or as a deeper thought that these are threatened individuals that are 'on the go,'” Libba says. “Other [sculptures] simply celebrate that particular animal’s existence, occasionally telling a story that wants to be heard.”
Scroll through to read our interview with Libba Tracy, then head to our March 2025 exhibition, Reawakening: Craft Artists of Western North Carolina, to see her submissions.
In Today’s Q+Art Interview…
Libba Tracy discusses the playful accessories featured in her sculptures, delves into the symbolism of birds, and shares details about her upcoming vision quest.
Do you have a favorite animal or a few that you gravitate towards?
Libba Tracy: I love horses. I am definitely a horse person. And chickens—I used to have chickens, and I loved my girls.
Your animal sculptures often include small birds. What do they symbolize?
LT: They’re communicators. There may be a gathering of five birds on the back of a horse, with one talking in its ear or next to a goat. The title of that piece is “How Rumors Are Started.” I’m deeply in love with birds, so they tend to show up quite a bit.
Many of your sculptures include little “accessories.” For instance, your dachshund piece includes a bone, while the fish all balance houses on their backs.
LT: I am trying to convey that my pieces tell a story. Including a carrot in front of a character might reflect how we chase a carrot in life. Sometimes, the carrot represents accessories. For the bone, it’s more about making the piece interesting. If I’m lucky, it may tell a story, too.
Tell us about the symbolism behind the four donkeys in “Which Direction?”
Looking closely, you can see arrows going in different directions. I made “Which Direction?” during one of those elections when people really questioned which way to go. That’s probably the only overtly political piece I have—it represents possibility and is also the biggest piece I’ve done.
You’re a former children’s book illustrator. How did that come about?
LT: I had an epiphany that I wanted to create a book that speaks to appreciating and loving our environment. I was fortunate that shortly after realizing this, a publisher knocked on my door, wanting to utilize my talents.
You mention this is a transitionary time for you. What’s next?
LT: I’m actually going on a vision quest at the end of this week. At 68 years old, I’m considering what the next 10 or 20 years look like for me. I want to focus on what’s most important. I have loved working with clay, but I need fresh perspectives, as artists do from time to time. I don’t want to fall into an automatic mode of production; I want to stay inspired. It’s a necessary reboot.
Libba Tracy: Instagram
This interview has been edited for length and clarity. All images published with permission of Libba Tracy; featured photo: “Mother Clucker.”