In this review, we look to Lucie Rie, an Austrian-born British potter well known for her glaze treatments and Sgraffito ornamentation. In this issue, we have a simple thrown vessel with hand built grip reminiscent of a Turkish coffee pot.
Read moreArtist Vignette - Jane Hamlyn
In this article we have a rare treat, a near identical pair, a Bisque fired demonstration item and its fully glazed and fired counterpart. The two are prepared and authored by Jane Hamlyn, "a pioneer in saltglaze revival" as stated by David Whiting.
Read moreArtist Vignette - Mary Rogers
Mary Rogers is known for her hand coiled works that celebrate organic forms through her many studies of aquatic and terrestrial motifs. The piece we look at today appears worn by tide, a delicate dappling of blue dance between deep bruising.
Read moreArtist Vignette - John Gilbert
Synthetic history, though born through modern hands, notes of recovery and memory wash over the critic. John Gilbert, prolific during the 60’s and 70’s, much of his work available today leans towards warm browns and glossy finishes, permeated through the Old Ballarat Pottery he established in 1988.
Read moreHitomi Igarashi - Celebrating Imperfection
One can depart the preconceived paradigm through using origami as substrate, Hitomi Igarashi became the inaugural recipient of the Lexus Design Award in 2013 by exploring the irregularity born of paper substrates with her project porcelain origami.
Read moreArtist Vignette - Peter Lane
Peter Lane’s focused body of work meticulously explores the nuanced expression capable of small vessels. Lane’s vessels often attempt to explore a single variable. Some rely entirely on studies of translucence and relief such as his works in Ice porcelain. Other works relinquish any texture or pronounced edges other than their rim and base concentrating on a body of single curvature to layover impressionistic landscapes or illusions of texture .
There are some works however that act as a dialogue between two techniques, studying the exchange between contrasting elements, one of which we have the privilege of reviewing. Lane’s bowl is grounded by minimalism, though it stands precariously on pointed foot its worn gradient from muddy patina to cream hue instead leaves it floating at first glance. The asymmetry of detail leaves the work top heavy, yet keeps the eye skirting across its ornate rim. This unassuming form is given landmarks through minor oculouses grouped in triplets, channels carved to provide structural hierarchy providing roads to carry one’s gaze over humble peaks along the vessel’s rim. All only provide distraction as ones eye dives ever downwards, where detail decays and leaves no resolution to one's journey. As if worn away by passing tides, or use by many hands, the remainder of the narrative is left unanswered.
Peters work often provides satisfaction through his expertise and variety of resolved forms from series to series, but in this case, leaves us wanting for more.