Philippa A Taylor

A union between the hard and the soft, static and movement, life and stillness.

More than its studio pottery beginnings of wheelthrown composite forms.

More than its simple textile technique of hand dyeing cotton.

More than just a decorative piece, though making Art for the context of the home shouldn’t be scoffed at.

More than the final design solution of creating an over sized tassel with a ceramic top & end cap!

More than the unique idea or thinking it took to conceive it.

It’s Art.

Art, with craft roots.

Dolly is a ceramic sculpture, made from wheelthrown components in stoneware and porcelain.

Her surface of relief decoration has been carved and painted in porcelain slip.

She embodies the feminine, the sacred, like a fertility goddess from Neolithic times.

She is contemporary, a modern woman of our times.

Her voice is quiet but resonates.

Her presence is still, there is strength in her stance.

She is Dolly.

…..a recent commission for a client in the U.S.

Each stoneware component is wheelthrown and decorated with white porcelain slip.

Decorative details in dot relief sculpture, spikes, links and line.

Handmade tassels created using cotton, linen and recycled cotton fibres.

Finalist in the Clunes Ceramic Award 2019.

Acquired by the Art Gallery of Ballarat.

I keep a close watch on this heart of mine
I keep my eyes wide open all the time
I keep the ends out for the tie that binds
Because you’re mine, I walk the line

Creating ‘Flower Vessels’ are apart of an ongoing investigation into the influence of my natural environment, on my ceramics practice.
The Coastal Banksia and Tea tree are endemic to where I live and they have captivated and grounded me and formed my sense of place in this world.

‘I Walk The Line‘ are a pair of contrasting, wheel-thrown composite forms, made in stoneware.
One has relief decoration, reminiscent of Wedgwood Jasperware. Each porcelain Banksia Sprig has been individually applied to the stoneware surface and hand carved in situ.

The other with porcelain slip and cobalt, the surface of swirling, freeform line work is a visual link to the coastal tea tree
The use of unglazed high fired stoneware and porcelain together creates a dramatic contrast to the work.

The forms are quiet and contemplative, engaging the viewer to look closer.
These modernist inspired, womb-like flower vessels, each hold a Coastal Banksia branch as observed on a tree. 
This is a key element to the design of the vessels. 
Both are also a reinterpretation and connection to my British and Anglo Indian heritage and their ceramic traditions.

 

‘Banksiere’ is a wheel-thrown composite form, made in stoneware.

It was created to hold and sustain five Coastal Banksia branches from its spouts.
The Coastal Banksia is endemic to where I live and it has captivated me.
It has been decorated with white porcelain slip and cobalt.
The surface of swirling, freeform line work is a visual link to the coastal tea tree found in the same area.
This vessel is part of an ongoing investigation, into the influence, of my natural surroundings on my ceramics practice.

This vessel is a reinterpretation of the ‘blue and white’ ceramic tradition. A connection to my British and Anglo Indian heritage.
My Banksiere is a contemporary vessel to reconnect the past with the present.
It’s form is based on the Tulipiere.

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When the Triennale was announced in 2017, I knew I wanted to attend.

I bought an early bird ticket and never dreamed I’d be in the position in my clay career to exhibit. I just wanted to be there.

Now it’s 7 days to go and I’m showing my works in two exhibitions spaces.

Very grateful for this opportunity.

‘Vignettes’ 24hr, Window Display.

Hunter St, Sullivan’s Cove, Hobart.

University of Tasmania School of Creative Arts & Media.

These ‘Ceramic Tassels’ hanging sculptures are the culmination of a study of traditional wheel work and a passion for textiles.

There a union of materials, that connects the hard with the soft, the malleable and yielding with the intractable and rigid.

A harmonious outcome, when these two materials are in accordance, is a beautiful thing.

The tassels are made from gritty stoneware, porcelain, linen, silk, paper and cotton.

‘Endemic Earth’

Kingborough Community Hub, Kingston, Hobart, Tasmania.

I said to my lecturer once….I just want to make beautiful things.

He agreed, pots are beautiful things.

My works for ‘Endemic Earth’ responds to our native flora as adornments, decorations to embellish my wheel thrown vessels.

Taking cues from their colour, forms, texture and structures, and more specifically the leaf of the ‘Celery Top Pine’ indigenous to Tasmania, I seek to highlight the beauty of our natural world in a unique and contemporary way.

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A collection of flower Vessels created on the wheel in stoneware and porcelain.

Each vessel is a composite form using torus forms (clay donut) and bowl/plinth forms.

A series of holes suitable for ikebana style floral displays.

Decorated with a green slip engobe.

A vessel inspired by organic forms made to showcase and nurture flowers.

 

The humble ‘Tea cup’ is a feat of engineering if your want your vessel to be as ‘usable’ as possible.

The Tea cup is to be held in your hand, cupping the warmth or by finger using the handle.

Comfort and ease of use is paramount here.

The form easy to cup in the hand.

Handle large enough to accomodate the finger easily.

Size of the cup is important, the user wants a satisfying amount of tea to drink.

Most cups hold between 200 – 300 mls of liquid.

The lip or rim of the vessel should be compatible for lip touch….I like my rim fine.

Visual appeal and clay choice and overall aesthetic is the choice of the maker….but it should entice and engage the user.

With all this in mind……..and after 20 odds year since I last made one.

I made a tea cup.

Wheel thrown stoneware and porcelain with pink slip detail and inlay decoration.