Massachusetts-based artist Molly Hatch creates immense installations of hand-built ceramic plates painted with a variety of patterns and scenes. Hatch frequently re-contextualizes historic images used centuries ago by old porcelain manufactures as well as paintings and textiles. Her largest artwork to date, Physic Garden, was installed last year at the High Museum of Art in Atlanta, a monumental installation of 475 plates depicting imagery used on Chelsea Factory plates dating back to the 1750s. Hatch is represented by Todd Merrill Studio, and you can see more work on her website. (via Design*Sponge, My Amp Goes to 11)
Washington-based artist Beth Cavener Stichter sculpts human-sized animals from clay and other materials in both dramatically overt and subtly ambigous displays of emotion. Hung from ropes or pinned to walls, the anthropomorphic sculptures are infused with juxtapositions that depict the extremes of both human emotion and animalistic behavior: predator and prey, love and hate, fear and peace. “On the surface,” shares Stichter, “these figures are simply feral animals suspended in a moment of tension. Beneath the surface, they embody the consequences of human fear, apathy, aggression, and misunderstanding.”
Stichter collaborates with a variety of artists in her work, including Alessandro Gallo, who designed and painted the ornate Japanese tattoos on the nineteen-foot long anaconda snake depicted in Tangled Up in You seen below. There’s much more to see over on her website and several studio views on Hi-Fructose. All images courtesy the artist.
Created by Japanese design brand D-Bros (previously) these carefully hand-crafted coffee/tea mugs made from Hasami porcelain are painted with a thin layer of reflective palladium that allows each cup to mirror the saucer it rests on. D-Bros created many different geometric designs, some of which are available over at Spoon & Tamago.
Israeli ceramicist Ronit Baranga‘s “body of work” is unsettling, to say the least. Sculpted from clay, realistic fingers emerge from plates while mouths lurk inside cups. The gnarled fingers and lips seem poised for action. We would most certainly hesitate before using any of these for fear of being bitten.
The mouth is an interesting element for ceramic tableware as its main purpose, at least conventionally, has been to carry food and drink until it reaches the mouth. “I chose to deal with ‘mouth’ as a metaphoric connotation to a border gate,” said Baranga in an interview late last year. “A border between the inner body and the external environment surrounding it.”
Ronit Baranga’s curious works, which blur the border between living and still, were most recently part of the two group exhibitions at Bet-Binyamini Contemporary Ceramics Center in Tel-Aviv. (via I Need A Guide)
New York-based artist Mary O’Malley (previously) continues her fantastic amalgamations of porcelain dishware encrusted with ocean life titled Bottom Feeders. Like any object resting on the ocean floor, her sculptures have become increasingly swarmed by flora and fauna over the years, with some of her most recent pieces appearing wholly consumed by coral, seaweed, crustaceans, and tentacles. O’Malley creates everything you see by hand, the teapots and other dishes are thrown and hand-built porcelain, to which she adds sculpted wildlife coated with red iron oxide. You can see more of her recent work on Facebook and Instagram.
When stopping to consider these masterful ceramic objects by artist by Matthew Chambers, a flood of familiar images came to mind as I tried to understand what I was looking at. The aperture of a camera, the protective shell of a curled up armadillo, ocean waves, bowls of pasta, or portals to other dimensions; all valid reactions to these hand-built ceramic vessels and sculptures that contain dozens of thin concentric layers.
For the last 8 years Chambers has been working from a 215 square foot studio in Newport on the Isle of Wight where he creates each piece without the aid of sketches or designs, preferring to experiment as he works. Each “layer” is an individual section thrown on a potter’s wheel which he then assembles with other layers to make a solid sculpture. How something so precisely geometric can be formed from clay by hand is nothing short of astounding.
Chambers most recently had work at New Craftsman Gallery. You can also read a studio visit from Ceramic Arts Daily, and a more in-depth interview about his process on Ideas in the Making. (via Rhubarbes, Contemporist)
Irish artist Nuala O’Donovan sculpts intricate hand-built porcelain forms that resemble fractal patterns found in nature. Borrowing from shapes found in coral, teasel flowers, and pinecones, O’Donovan examines not only patterns, but irregularities that arise from random or unexpected events. From her artist statement:
The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change. The viewer engages with the piece by allowing their own visual experiences to influence their view of the outcome of the form and its future possibilities. I hope that this aspect of my work also evokes the transitory quality of living organisms, combining traces of history, the present and the future, in the patterns that make up their surfaces and forms.
O’Donovan most recently exhibited with Tansey Contemporary at SOFA Chicago and has numerous exhibitions around the UK in 2015. You can see much more on her Facebook page and her website. Photos by Sylvain Deleu and Janice O’Connell. (via Juxtapoz)