Here we have gathered all our print catalogues from Project Network throughout the years. Please take the time to look through some of our artists’ inspiring and beautiful ceramic art works.
While referencing domestic and urban environments and echoing children’s building blocks, my work welcomes playful interaction. Audiences are invited to contribute to the aesthetic of the objects through the application of colour, pattern, or text, before re-positioning them to create their own landscapes. Through the creation of performative objects, it is my hope that the work encourages social exchange by creating a shared experience.
Dawn was breaking and the intricate details were revealed. As the layers of light and shadows exposed nature’s transience, my emotions fluctuated between close and distant. Is the whole scenery a smokescreen?
After living two years in China I have become fascinated with tea. This humble beverage lives at the heart of most Chinese social interactions. When you enter a home or place of business a cup is offered without the slightest hesitation. It acts as a social lubricant, opening the way for conversation with family and friends.
Tea serves the same hospitable role in other cultures but the actual beverage and its service ware change vastly by country. In the Southern United States, black tea is served cold from a pitcher into a tumbler with lots of sugar. In Great Britain and the commonwealth countries, you will be offered a warm black tea in a handled teacup with a splash of milk and perhaps a saucer. In China you will receive green tea out of small teapot with a handleless cup no larger than the size of a thimble. These differences provide a wellspring of forms and inspiration for my studio practice.
If to stroke caressingly echoes of hands
tactile exploration is encouraged
Adorned with porcelain objects, this overcoat has two purposes. First, through the durable yet fragile nature of porcelain, it addresses the paradox that self-made barriers cannot protect us from what happens in our surrounding environment. Second, it investigates notions of superstition and luck by equipping the wearer with amulets to safeguard them from personal vulnerability. The overcoat then functions as symbolic protection in our journey through life.
I create some simple graphic shapes and surfaces that appeal to our senses. Eyes and hands want to see and touch my objects, examine them, turn them around and look at the other side. Label them. I will awaken a curiosity in the viewer. A sense of wonder or just a moment… I take the starting point of strict basic forms. They appeal to me, and they appeal to us, because it’s the first thing we learn about form, and we recognize them quickly, quite unconsciously. I touch them and make them part of me, give them a little of me. I create for the mind, the eye, and for the good feeling inside when you see something beautiful. It is important that the things we have around us give us something, a feeling, a reaction, or a smile.
The objects I create and their relationships to each other hint at a kind of narrative. Through the process of making, I stumble upon a story. Events unfold with the passing of time and leave artifacts behind. I am interested in playing with a sense of history, the coming and going of things evocative of childhood. Notions of play loom in the background. Were these forms conjured by a child’s imagination or are they themselves toys? I am interested in creating a moment that confronts the viewer with both wonderment and perplexity.
Volubilis is a town, almost dead, almost alive, with buildings; sometimes up, sometimes down, some arches, some almost ruins…
Sometimes there is a black line or a white surface on miniatures that invite you to dream and go far away…
Volubilis est une ville faite d’immeubles, d’arches, de ruines… en attente.
Des formes soulignées par une ligne noire, un aplat blanc sur des miniatures qui invite au rêve…