The Australian Triennale May 1-4 , Hobart, Tasmania.

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.

I

Flower Vessels 2018

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.

 

Ceramic Tassel

Working through an idea from the past but in a new way with a wheel thrown double walled form.

Combining fibre and ceramic to make a simple, modernist tassel.

An elegant, elongated form.

A Tea Cup

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.

Black Stoneware Pot.

A small wheel thrown vessel, decorated with black porcelain slip.

Inspired by the ‘Beaker’ tradition of the Neolithic/ Bronze Age.

….and they can also hold big beautiful blooms.

What a difference can be achieved with a change in context for each photograph.

How does a background and addition of flowers change the focus for this pot?

From Ancient to ‘Old Dutch Master’ inspired?

How different does it look with a white background?

Contemporary use of materials with a traditional black pottery form.

The use of photographic conventions does make a difference to your work?

Which look…appeals the most?

When does the photography mean more than the work itself?

If someone said ‘the photo does not do the work justice’ is that better than…’it looked great in photographs’?

How does one keep a discerning eye?

Or is it not important?

Is it ‘smoke and mirrors’ ….a bit ‘Emperor’s New Clothes’?

Is it an art form beyond the pot?

Is the pot relevant?

What is the Art your selling? What does the buyer get?

Personally the images of the pot with the black background, says the most to me.

It is more inline with what I hoped the Pot embraced?

X Philippa

Taking our pleasure seriously, changing our habits?

Something to think about, something to change?

What do we need? what do we want?……and how can we turn our needs/wants into a more sustainable choice?

What if we all ate our ice cream from ceramic vessels and spoons?

Just a question to pose and create comment through clay?

Over Here for purchase.

Contrasting Pair

A new pair of ‘Contrasting Pairs’ are fresh from the kiln.

They are slowly revealing their story to me…..firstly it was about looking into contrasts.

Which is easy, change in form, surface, colour but more deeply and on reflection I’m beginning to see more and I look forward to expanding on this idea and sharing more soon.

In the meantime….these are in the SHOP.

New Line in pink.

A trio of delicate porcelain vessels in pink.

A pale, creamy speckled glazed interior with fine inlay lines, a subtle contrast.

This trio of polished, translucent porcelain vessels are available here.

New Line Pottery

Inspiration comes to me easily, ideas drift across my mind daily but for me to know where their source is, where they come from?

I look to my surroundings, I often find it there.

The ‘New Line’ in my work is loose, free, twisting and undulating.

The Tea Tree is indigenous to the Mornington Peninnsula and Bayside suburbs of Melbourne, Australia.

This year I’m looking to develop this line work throughout my pieces, till I have exhausted it.

‘Contrasting Pair’.

Same, same but different, each has what the other lacks but when together are beautiful.

Wheelthrown, Stoneware and Porcelain.
Black porcelain slip and inlay decoration.
Oxidation 1280.

Here are my ‘Contrasting Pair’.