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Terracotta and Gold Figures by Vipoo Srivilasa Conjure Joy and the Divine
by Aurelia Butler 5 August 2025, 21:09
“Serene Spirit” (2025), terracotta, glaze, overglaze, and gold lustre, 39 x 28 x 15 centimeters. All images courtesy of Edwina Corlette, shared with permission
Terracotta and Gold Figures by Vipoo Srivilasa Conjure Joy and the Divine
August 5, 2025
Art
Grace Ebert
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Joy and the possibilities of creative communion ground the practice of Vipoo Srivilasa (previously). The artist, who lives and works between Australia and Thailand, is known for his ceramic sculptures that take an ebullient approach to life.
Standing between one and two feet tall, Srivilasa’s figures are clad in floral baubles, mandala-like motifs, and gold details, often with their fingers shaped like a V. The lively characters invoke both the mundane and the divine as they portray aspects of the spiritual world while firmly rooted on the earth.
“Inner Goddess” (2025), terracotta, glaze, and gold lustre, 60 x 25 x 13 centimeters
A collection of Srivilasa’s sculptures opens this month at Edwina Corlette in a solo exhibition titled Iconic Figures: Devas, Deities and Divas. Bringing together 15 years of the artist’s practice, the show features both his signature white and blue materials, along with a more recent foray into terracotta, a mix that bridges Srivilasa’s cultural heritages.
Iconic Figures runs from August 20 to September 16 in New Farm, Queensland. Find more from Srivilasa on his website and Instagram.
“Guardian Light” (2025), earthenware glazed and gold lustre, 100 x 50 centimeters
“Heavenly Bloom” (2025), terracotta, earthenware glazed, and gold lustre, 100 x 50 x 60 centimeters
Back of “Heavenly Bloom” (2025), terracotta, earthenware glazed, and gold lustre, 100 x 50 x 60 centimeters
Back of “Serene Spirit” (2025), terracotta, glaze, overglaze, and gold lustre, 39 x 28 x 15 centimeters
“Majestic Grace” (2025), terracotta glazed and gold lustre, 70 x 42 x 15 centimeters
Back of “Majestic Grace” (2025), terracotta glazed and gold lustre, 70 x 42 x 15 centimeters
“Dancing Diva” (2025), terracotta, glaze, and gold lustre, 29 x 14 x 18 centimeters
“Radiant Bloom” (2025), terracotta glaze and gold lustre, 53 x 34 x 20 centimeters
Back of “Radiant Bloom” (2025), terracotta glaze and gold lustre, 53 x 34 x 20 centimeters
“Golden Aura” (2025), terracotta, glaze, and gold lustre, 66 x 33 x 19 centimeters
“Sacred Flame” (2025), terracotta, glaze, and gold lustre, 69 x 37 x 24 centimeters
Back of “Sacred Flame” (2025), terracotta, glaze, and gold lustre, 69 x 37 x 24 centimeters
“Joyful Deity” (2025), earthenware glazed and gold lustre, 62 x 45 x 28 centimeters
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Christina Bothwell Taps into Dream Worlds in Surreal Glass and Ceramic Sculptures
by Aurelia Butler 4 August 2025, 15:10
All images courtesy of Christina Bothwell and Heller Gallery, shared with permission
Christina Bothwell Taps into Dream Worlds in Surreal Glass and Ceramic Sculptures
August 4, 2025
ArtCraft
Kate Mothes
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Youthful and mysterious figures emerge from glass and ceramic in the uncanny sculptures of Christina Bothwell (previously). Animals and children form the artist’s primary focus, often embellished with painted florals, nestled in shells, or encapsulated within bird cages. Her husband and collaborator, Robert Bender, often adds wood elements like deer antlers or spider-esque legs. Tender and also occasionally unsettling, the pieces hint at the surreal stuff of dreams, memories, and the spirit world.
Bothwell’s solo exhibition, Screen Memories, just opened at UrbanGlass’s Robert Lehman Gallery. Presented by Heller Gallery, the show brings together a wide selection of new and recent pieces and continues through September 12 in New York City. Find more on the artist’s website and Instagram.
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Wood and Ceramic ‘Guardian’ Assemblages by Expanded Eye Emphasize Earthy Materials
by Aurelia Butler 9 July 2025, 18:52
Casa Mahala installation. All images courtesy of Expanded Eye, shared with permission
Wood and Ceramic ‘Guardian’ Assemblages by Expanded Eye Emphasize Earthy Materials
July 9, 2025
ArtCraft
Kate Mothes
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Blurring the distinction between abstraction and figuration, Expanded Eye’s recent works explore themes of the divine feminine and “the peaceful power of the Earthmother,” the duo says. Comprising Lisbon-based artists Jade Tomlinson and Kevin James, Expanded Eye is known for characteristically geometric, figurative tattoos and assemblages (previously) that incorporate wood and repurposed materials into bold compositions. Through large-scale installations and framed pieces, the artists explore the possibilities of texture, pattern, and color.
Tomlinson and James have put their tattoo practice on hold to focus on sculptural reliefs. Ceramic, in particular, has become a central tenet of their practice, inspired by the rich tile tradition of Portugal, known as azulejo—an exemplification of cross-cultural exchange. The artists are interested in “using this grounding, ancient material from the earth to depict serene guardians in earth tone colors, to evoke stillness and calm in this fast-paced world.”
“Earth Flow” (2025), glazed hand-cut tiles in wooden tray frame, 58 x 48 centimeters
Past and present converge in Expanded Eye’s compositions, channeling an interest in timelessness and the continuum of clay, carving, and building methods. The graphic elements and fragmented features also call to early 20th-century art historical Modernism, especially the Cubist movement. It’s this “fusion of traditional materials with a unique modern approach that excites us—connecting the past to the present,” the artists tell Colossal.
Expanded Eye is currently working on their largest tile commission to date and plans to further merge ceramics with other facets of their practice. Explore more on the artists’ website and Instagram.
Casa Mahala installation
Detail of Casa Mahala installation
“Earth Mother” (2024), glazed and hand-cut tile panel in wooden tray frame, 117 x 71 centimeters
“Lunar Guardian” (2024), glazed and hand-cut tiles in wooden tray frame, 34.5 x 24 / 13 x 24 centimeters
“Guardians series 3” (2024), glazed and hand-cut tiles in wooden tray frame, 54.5 x 24 centimeters
“Earth Dance” (2025), glazed ceramic tile panel in wooden tray frame, 128 x 71 centimeters
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Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences
by Aurelia Butler 3 July 2025, 16:00
“Byzantine.” Photos by Shannon Toft. All images courtesy of Frances Priest, shared with permission
Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences
July 3, 2025
ArtCraft
Kate Mothes
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In vibrant effusions of color, Frances Priest creates ceramic vessels, tiles, and sculptural forms that explore the possibilities of pattern. The Edinburgh-based artist’s interest in decorative motifs stems from a book she received as a child, The Grammar of Ornament by Owen Jones, originally published in 1856.
Jones compiled elaborate documentation of decorative motifs around Europe, the Middle East, and other regions represented in British museum collections of the time. An international focus has long inspired Priest, who incorporates a wide range of visual languages into her pieces.
Jar with a chevron pattern
Priest (previously) emphasizes geometry and color, merging ideas of precision with organic movement—some of the elements appear to be floating away or overlapping playfully with others rather than remaining in perfect alignment. She also continues the patterns across the bottoms of the pieces, emphasizing an all-around completeness.
Recent works include a series of cylindrical vessels with lids influenced by Chinese ginger jars. The artist recently completed a large-scale tile commission for Theatre Clwyd in North Wales titled “Stellar,” and a series of encaustic floral tiles dotted the floor of a garden at London’s 2025 RHS Chelsea Flower Show.
If you’re in Edinburgh, see Priest’s work at &Gallery in the forthcoming group exhibition Fragments, which runs from July 5 to 30. Find more on the artist’s Instagram and website, where some of the pieces shown here are available for purchase in her shop.
Jars with (L-R) triangle, chevron, and bow patterns
Detail of the triangle-patterned jar
“Wait”
Installation view of “Byzantine”
Detail of “Byzantine”
“Pace”
Jar with a bow pattern
Detail of “Byzantine”
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Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations
by Aurelia Butler 12 June 2025, 17:48
All images courtesy of Ebony Russell, shared with permission
Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations
June 12, 2025
Art
Kate Mothes
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Piping clay with bakery tools, Ebony Russell creates a range of delectable vessels in a prism of colors.
Russell’s practice is founded in both the relationship between form and function and the nature of the vessel itself as a container for memory and gesture. “I’m interested in how material can carry emotion and presence,” she says. “A lot of what I make starts from personal experience, but I hope it opens space for others to reflect, too.”
Intrigued by the aesthetics and process of cakes, the Australian artist originally focused on sculptural motifs like bride-and-groom or ballerina toppers, but the icing itself gradually emerged as a focus. “I was searching for a way to build with clay that felt more fluid and intuitive,” she tells Colossal. “When I started using piping bags, I loved the immediacy and texture—it felt like drawing in space.”
Some of the works shown here are included in Russell’s current solo exhibition, Frivolous, at Martin Browne Contemporary in Sydney, which continues through June 21. Find more on the artist’s website and Instagram. (via PAN)
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Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition
by Aurelia Butler 11 June 2025, 13:18
Images © the artist, share with permission
Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition
June 11, 2025
Art
Jackie Andres
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Experimentation is a driving force in Dara Schuman’s ceramic practice. Out of her Chicago studio, the artist conjures striking geometric forms that appear stacked, ribbed, and almost architectonic. With an air of retro-futurism informed by mid-century modern style, her jewel-toned volumetric vessels don earthy yet bold glazes in deep reds, ochre, and smokey blue.
“Over time, I’ve found that my best pieces come from exploration rather than control,” the artist explains. Sitting before the pottery wheel, Schuman allows her thoughts to melt away before permitting her subconscious take charge. “Letting the clay guide me is what I enjoy most about the medium,” she shares.
When Schuman discovers methods and motions that stick, she uses those processes as momentum to see how far she can push both the clay and her skills. Often, this approach naturally leads to bodies of work in which the iterative pieces feel and look inherently harmonious.
Schuman is currently excited about lighting and has been experimenting with pendant lights and sculptural lamps. She is also working on a series of mugs for a shop update in the next month. Find much more from the artist on her website and Instagram.
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Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami
by Aurelia Butler 10 June 2025, 13:16
All images courtesy of Mark Goudy, shared with permission
Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami
June 10, 2025
ArtCraftDesign
Kate Mothes
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From delicately folded paper, Berkeley-based ceramicist Mark Goudy draws inspiration for an ongoing series, Origami. He describes his work as “minimal forms with hidden complexity,” building on a love for simple yet elegant forms that reflect nature’s inherent geometries.
In meticulous sculptures that merge form and function, Goudy pulls from his experience as a 3D graphics hardware design engineer. Using algorithmic 3D software, he creates objects that nod to the art of Japanese paper folding. “Many of these forms are designed to balance on the folds—when set on a flat surface, they rock back and forth, naturally settling into their inherent point of equilibrium,” he says.
Goudy’s thin, translucent, slipcast pieces are made from black or white porcelain, which he occasionally colors by painting metallic salt watercolors directly onto the surface after they have been bisque fired. Salt soaks up and redistributes the pigment, which is further influenced by the texture and permeability of the material.
“As the metal salts soak into the porous clay body, they move and interact with each other,” the artist says. “And during the drying process, they naturally gradate and concentrate on the edges, highlighting the folds and ridges of my forms.”
Using only three metal salt pigments: gold, cobalt, and chromium, Goudy achieves various shades of red, blue, and green. “I am especially drawn to cobalt blue, a reference to the ineffable blue of water and distance,” he says. “I think of these objects as containers for light and atmosphere.”
Goudy’s work will be on view in the 63rd Faenza Prize for the International Biennial of Contemporary Ceramic Art in Faenza, Italy, from June 28 to November 30. See more of the artist’s work on his website and Instagram.
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Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods
by Aurelia Butler 29 April 2025, 15:32
All images © the artist, shared with permission
Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods
April 29, 2025
Art
Jackie Andres
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Australian artist Amiee Byrne is drawn to everyday objects that are “so normal, they’ve become invisible,” she says. Meticulously sculpting clay into life-sized representations of their counterparts, Byrne highlights the tender charm and understated significance of forgotten and discarded goods.
Creating an accurate portrayal involves the conscientious embrace of imperfections and defects. Take, for instance, Byrne’s bear sculpture. Splooted on its belly as if frozen in time after being dropped onto the ground, the well-loved teddy bear’s fluffy yet matted fur remains slightly discolored in some areas, as well as its snout. Details of authenticity ultimately cue a poignant emotional response. “This object is getting a second chance and I like to celebrate the flaws,” she says.
Technically speaking, the Los Anegles-based artist has developed a distinct knack for producing hyperrealistic textures. While it can be particularly challenging to accomplish lifelike surfaces with ceramic pieces, Byrne employs several underglazes to achieve the perfect sheen or flat finish atop each object.
Often times scrolling the internet for hours, searching for tools to execute such precise textures, Byrne also explains that she is fond of experimenting with different items around the house. “My favorite tool is a dustpan broom,” she says. “I’m always bashing clay with it to create different effects.”
Find other projects from the artist on her website, and see more work on Instagram.
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ceramics

More stories

Terracotta and Gold Figures by Vipoo Srivilasa Conjure Joy and the Divine

Christina Bothwell Taps into Dream Worlds in Surreal Glass and Ceramic Sculptures

Wood and Ceramic ‘Guardian’ Assemblages by Expanded Eye Emphasize Earthy Materials

Vibrant Patterns in Frances Priest’s Ceramics Emanate Historical and International Influences

Piped Like Cake Icing, Ebony Russell’s Luscious Vessels Evoke Emotional Celebrations

Dara Schuman’s Rhythmic Tiered Vessels Embrace Intuition

Paper-Thin Porcelain Works by Mark Goudy Balance on Folds Inspired by Origami

Amiee Byrne’s Realistic Ceramic Sculptures Underscore the Charm of Discarded Goods

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