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      Unruly Metals and Barbs Repair Broken Porcelain Dinnerware by Glen Taylor

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      Art

      #dinnerware
      #found objects
      #metal
      #porcelain

      July 15, 2021
      Grace Ebert

      All images © Glen Taylor, shared with permission
      Ohio-based artist Glen Taylor (previously) mends porcelain dinnerware with brutal bits of metal and soldering that starkly contrast their smooth, delicate counterparts. Lengths of rusted barbed wire bind two halves of a teacup, sharp spikes border a saucer painted with flowers, and mangled silverware is piled in messy assemblages reminiscent of dinner-party aftermath. In recent months, Taylor’s repaired interventions have grown in size and scope, from single-serving dishes patched with a pair of jeans to full-scale tables set for eight.
      In a note to Colossal, the artist shares that he’s in the midst of preparing for an exhibition this fall, and you can keep an eye out for details about that show on Instagram.

      #dinnerware
      #found objects
      #metal
      #porcelain

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      Delicate Cross-Cut Pods Encase Seeds and Other Fruitful Forms in Porcelain

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      Art
      Craft

      #ceramics
      #eggs
      #nature
      #porcelain
      #seeds

      June 30, 2021
      Grace Ebert

      All images © Sally Kent and photographer Matthew Stanton, shared with permission
      Melbourne-based artist Sally Kent visualizes the fleeting processes found in nature in her fragile porcelain pods. Cross-cut to reveal an inner seed, flower, or other fruitful organisms, the ceramic works compare the inner life-producing forms that are teeming with color and texture with their stark, smooth shells.
      Each piece, which ranges from just a few inches to about a foot, is composed of individual patterns, whether through minuscule orbs or with thin strips of ceramic hung from the outer edges. This use of repetition is a form of embodiment, Kent says, because it evokes the cycles that produce and sustain all life, no matter the species or age. “Each pod begins with an egg form—an archetypal symbol of the cycle of life, death, and renewal, but it also acts as a shell to delineate and protect, albeit fragile, the seen (physical body) and the unseen (the spiritual and emotional world),” she shares.
      If you’re in Sydney, you can see Kent’s Protection series, which includes human hands and busts embellished with mythological details, during the first weekend of August at House of Chu. Until then, dive into her process and see more of her hand-built works on Instagram.

      #ceramics
      #eggs
      #nature
      #porcelain
      #seeds

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      Traditional Chinese Characters and Motifs Cover Ming Lu’s Porcelain Busts and Ducks

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      Art

      #birds
      #busts
      #porcelain
      #sculpture

      June 18, 2021
      Grace Ebert

      “Dialogue, Reaching the Station We’ll Never Reach” (2019), blue and white porcelain, 26 x 18 x 18 centimeters. All images © Ming Lu, shared with permission
      Artist Ming Lu melds multiple facets associated with Chinese culture in her delicate blue-and-white porcelain works. She utilizes traditional craft techniques to sculpt ubiquitous cultural symbols often found throughout the streets of Chinatown, encompassing both the Berlin-based artist’s broad cultural connections to her native country and more personal interactions.
      In the three busts that comprise “Dialogue,” for example, Ming Lu transcribes conversations with her partner in calligraphic script. Titled “Reason,” “Trick,” and “Reaching a Station We’ll Never Reach,” the self-portraits embody a contemporary change in situation and perspective through a classic medium. Similarly, a trio of butchered ducks evokes the popular dish in form and are coated in a traditional floral motif, a cracked glaze, and characters depicting an old-fashioned spelling of “I love you.” Each of the birds strikes a balance between history and more contemporary culture, which Ming Lu describes:
      It’s a funny experience when I first went to Chinatown and I saw these roast ducks hanging on the restaurant windows. We don’t do this in China, at least not in the cities I’ve been to. It’s a funny experience for me. And when you go to a museum, in the “China” (the country) section, you see many porcelains. It also represents China in a way as in history, especially in Ming and Qing dynasties, (porcelain) was one of the largest export commodities, so I put them together.
      Ming Lu works across mediums, and you can see more of her sculptures, paintings, and embroideries on her site. Some of the pieces shown here on view through July 3 as part of her solo show Tigress, Tigress at BBA Gallery in Berlin and in a group exhibition running June 24 to 30 at Kühlhaus Berlin.

      “Blues Is My Business” (2019), blue and white porcelain, 30 x 16 x 9 centimeters
      Detail of “Dialogue, Reason” (2019), blue and white porcelain, 26 x 18 x 18 centimeters. Photo by Christian Schneider
      “Dialogue, Reason” (2019), blue and white porcelain, 26 x 18 x 18 centimeters. Photo by Christian Schneider
      “Blues Is My Business” (2019), blue and white porcelain, 30 x 16 x 9 centimeters
      “Will You Still Love Me Tomorrow” (2019), blue and white porcelain, 30 x 16 x 9 centimeters
      “Wonderful World” (2019), ge porcelain, 30 x 16 x 9 centimeters

      #birds
      #busts
      #porcelain
      #sculpture

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    • 163 Shares159 Views

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      Innumerable Pieces of Dyed Clay Envelop Meditative Sculptures in Subtle Patterns and Gradients

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      Art
      Craft

      #abstract
      #ceramics
      #clay
      #gradients
      #porcelain
      #sculpture

      June 7, 2021
      Grace Ebert

      “Clements Shade” (2020), porcelain ,29.5 x 16 x 43 centimetres. Photo by Mark Robson. All images © Alice Walton, shared with permission
      Thin ribbons of porcelain ripple across the surfaces of Alice Walton’s abstract sculptures. Gently sloped domes and pillars are covered in countless individual strips, which vary in thickness and length and add irregular texture and depth to the finished pieces. “Every mark I make, whether this be a tool mark or a fingerprint, are preserved in the firing and are not covered or coated or inhibited by a glaze,” the artist writes. “I want the viewer to be able to look at my sculptures from afar and to have one perception of the surface (and) then want to explore closer. On a nearer inspection, the surface decoration reveals layers of multiple colours and time spent through process.”
      Focusing on the meditative qualities of repetition, Walton combines pastels and vibrant Earth tones to evoke the sights of her surrounding environment and travels. “The vividly painted sun-bleached street walls and the monsoon-drenched temples, to me, instantly resembled the dry powdery palette of coloured clays,” she shares about a visit to Rajasthan, India. Her choices in pigment still revolve around what she sees on a daily basis—these range from old maps to the seasonal landscapes nearby her studio in Somerset, U.K.—that result in undulating stripes or bold gradients composed with more than 40 colors in “Clements Shade.”
      At the 2019 British Ceramics Biennial, Walton was awarded a residency with Wedgwood, where she’s currently working on a new series of sculptural vessels made from the English company’s traditional Jasper clay. Those pieces will be shown at the 2021 biennial in September. She’ll also have work at London’s Chelsea Design Centre from June 22 to 29 and at MAKE Hauser & Wirth Somerset in November. Until then, explore more of her sculptures on her site and Instagram. (via Seth Rogan)

      “Clements Shade” (2020), porcelain, 29.5 x 16 x 43 centimeters. Photo by Mark Robson
      Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton
      “Avon Ribbons” (2020), colored porcelain, 30.5 x 28 x 28 centimeters. Photo by Alice Walton
      Detail of “Janta Grove.” Photo by Sylvain Deleu
      “Vale Ribbons” (2020), colored porcelain, 18.5 x 10.5 x 22 centimeters. Photo by Alice Walton
      “Ley Line Pair” (2021), porcelain, 14 x 14 x 31 centimeters and 14 x 14 x 31 centimeters. Photo by Mark Robson
      Detail of “Avonvale Mapping” (2020), colored porcelain. Photo by Alice Walton
      “Avon Strata,” wall-mountable colored porcelain, 48.5 x 48.5 x 1.5 centimeters. Photo by Alice Walton

      #abstract
      #ceramics
      #clay
      #gradients
      #porcelain
      #sculpture

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      Colorful Glazes Coat Exquisite Vessels Sculpted with Smooth Sloping Porcelain

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      Art
      Craft

      #ceramics
      #porcelain
      #vessels

      May 24, 2021
      Grace Ebert

      All images © Sophie Cook, shared with permission. Photo by Josephine Cottrell for Maud and Mabel
      Sophie Cook sculpts delicate porcelain into teardrops, bottles, and pods with swollen bases and long bowed necks. Often evoking the colors of the Suffolk landscape surrounding her studio, the elegant vessels have smooth exteriors coated in matte and glossy glazes that range from coral to graphite and sage. The pieces vary in height and width and are designed to be displayed in groups as “a three-dimensional still life,” she says in a statement.
      Cook’s practice is meticulous and regimented—watch the short video below to see her at the wheel—and frequently results in loss, which she describes:
      Every piece is a challenge to make as porcelain is such a fluid medium on the wheel. I throw four pieces a day, which are left to dry for two days and are then carved to refine the shape. Once sprayed they dry for a week. It is an incredibly delicate process. Rarely, if ever, do all four pieces survive the carving and firing processes.
      Browse available vessels in Cook’s shop, and follow her work on Instagram.

      Photo by Layton Thompson for Ceramic Review
      Photo by Josephine Cottrell for Maud and Mabel
      Photo by Josephine Cottrell for Maud and Mabel

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      #ceramics
      #porcelain
      #vessels

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      Coronavirus Satirically Tops Kitsch Figurines Sculpted with Porcelain

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      Art

      #ceramics
      #COVID-19
      #porcelain
      #satire

      May 20, 2021
      Grace Ebert

      “Holland” (2021). All images © Chrystl Rijkeboer, shared with permission
      Artist Chrystl Rijkeboer contemporizes sentimental porcelain figurines with a present-day twist: spiky COVID-19 molecules obscure the characters’ facial features, rendering the largely wealthy and ornately dressed figures both anonymous and commonplace in modern contexts.
      Whether posing for a portrait or mid-curtesy, Rijkeboer’s pieces satirize the long-crafted Meissen figurines, which have been in production since the 18th Century and often romanticize an antiquated world “where women do not represent any relevance but being nice and glamourous,” she tells Colossal. “For me, it is mostly about the position as a woman and an artist. The pandemic made it quite clear that artists are the first to be labeled as unnecessary.”
      Living and working in Haarlem, The Netherlands, Rijkeboer has crafted an extensive COVID-themed collection, which includes ubiquities like Zoom calls and masks, all of which you can see on her site. (via Lustik)

      “Alice” (2021)
      “Will we ever play and dance again together?” (2020)
      Left: “Covid Duet #2 Brown” (2021). Right: “Dangerous Liaisons” (2020)
      “Girl with Carrots & Rabbit” (2021)
      Left: “Covid Couple” (2020). Right: “Covid Duet Blue” (2021)
      “La Famiglia” (2021)
      Left: “Covid Symphony #3” (2021). Right: Left: “Covid Symphony #4” (2021)
      “Music Friends, boy with guitar & girl with flute” (2021)

      #ceramics
      #COVID-19
      #porcelain
      #satire

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      Discs Extracted from Antique Porcelain Become Delicate Jewelry by Gésine Hackenberg

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      Art
      Design

      #ceramics
      #dinnerware
      #jewelry
      #porcelain

      April 5, 2021
      Grace Ebert

      All images © Gésine Hackenberg, shared with permission
      From her studio in Amsterdam, Gésine Hackenberg (previously) punches perfectly round discs from Delftware and antique ceramic dishes. The ornate, pearl-like forms are then strung together into necklaces or secured into metal bands for rings and earrings. Juxtaposing the old and new, the completed wearables are positioned alongside the original dinnerware to draw connections between the domestic objects and personal adornments that are ubiquitous in everyday life.
      The ongoing collection—which Hackenberg says was inspired by her grandmother’s pearl necklaces and massive cabinet of porcelain dishes—evidences what the designer sees as “a certain kinship” between what’s worn on the body and the pieces that decorate and sustain a living space. She says:
      What one keeps and owns, often contains an emotional meaning next to its practical function or worth. Possessions, especially personal treasures, define and represent their owner. Jewelry is in particular an outward sign of values that are deeply rooted in the wearer, of what people cherish, in what they believe, and what they desire.
      Because the ceramic material is incredibly fragile, Hackenberg works manually with custom tools. She’s developed a precise understanding of the drilling speeds and pressure necessary to remove each disc without creating too many chips or cracks. If the material is damaged throughout the temperamental extraction process, the entire piece is unusable.
      Hackenberg’s body of work spans a range of upcycled jewelry designs, many of which you can see on her site and Instagram.

      #ceramics
      #dinnerware
      #jewelry
      #porcelain

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      Abstract Masses of Porcelain Consume Embracing Figures in Sculptures by Artist Claudia Fontes

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      Art

      #body
      #porcelain
      #sculpture

      February 5, 2021
      Grace Ebert

      All images © Claudia Fontes, shared with permission
      Argentina-born artist Claudia Fontes (previously) continues her Foreigners series with small sculptures of figures enveloped by plumes of porcelain. Recent additions to the expanding collection are more abstract than previous iterations, which often revealed the body’s curves and gestures, although all of the works feature limbs embracing within or attempting to escape from the textured clouds. The pocked surface resembles organic matter, like sea sponges or coral, and seamlessly merges life forms into a cohesive structure.
      Fontes tells Colossal that this shift in focus was inspired by a desire to see “the material as the main protagonist of the piece, steering away from representation.” She explains that by “piercing the porcelain in different ways and exploring the possibilities that come with grouping the figures, I have realized that I am paying more attention to the material as a fictional membrane, which mediates between figure and background.”
      Currently, Fontes is incorporating two colors into her otherwise white porcelain in order to create new works that evoke sedimentary rock. She’s also preparing for a solo show at Cecilia Brunson Projects in London and a group exhibition at Stuk in Leuven, Belgium, and some pieces from the Foreigners series will be part of Simbiologías at Centro Cultural Kirchner in Buenos Aires this April. Until then, follow the artist on Instagram or head to her site to see more of her sculptural work.

      #body
      #porcelain
      #sculpture

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