Monthly Archives: September 2016

Aussie sculptural landscape



Palmer-sculpture-Biennial-Greg Johns sculptural art

Greg Johns sculpture –  Palmer

Photo – Bill Doyle



Palmer Sculpture Biennial


Windswept, undulating plains saturated with lucid light and the occasional rocky outcrops with smooth erosion, dotted with solitary trees of tenacity making a statement of survival. A perfect location for creating the powerful dichotomy of modern contemporary sculptures against an ancient landscape. The entrancing Aussie landscapes on their own wrench deep chords from the soul, so having a sculpture to study in this setting under pristine skies is a pure bonus.
Palmer is situated 70km East of Adelaide in the state of South Australia on the Murray Plains and sculptor Greg Johns has a property nearby on the eastern escarpment of the Mount Lofty ranges. which is the location for the Palmer Sculpture Biennial. His objective for this land is to display a collection of his own works and a range of other contemporary sculptures, along with ecological rehabilitation. The range of work included involves symbolic reading of the landscape, responding not only to the physical but also the mythical and the spiritual senses of the Australian landscape. Sculptures are placed in relationship to the whole landscape; it is not a ‘sculpture park’ as such.
A biennial sculpture exhibition was established in 2004 which includes emerging, mid career and established artists, with diverse styles of practice represented. A distinguished artist is also invited to participate. The Indigenous people and traditional custodians of this location are the Peramangk and the area has a rich Indigenous history.






 ‘Returning to Whole’ – Astra Parker




Ancient She-oak tree – photo Bill Doyle




 ‘Hearth (Resting Place)’ – Andre Lloyd Lawrence




Astra Parker – ‘Migration Sero’


Photo – Bill Doyle




Karl Meyer – ‘Substance’




astra-parker-rhythm-underground-bill-doyle-Outback sculpture

Astra Parker – ‘Rhythm Underground’


Photo – Bill Doyle



bert-flugelman-serpent-2-bill-doyle-2008 snake sculpture

Bert Flugelman – ‘Serpent II’


Photo – Bill Doyle


2016 nicholas-uhlmann-the-hood-iii boat sculpture

Nicholas Uhlmann – ‘The Hood III’




erwin-fabian-palinode-2013 Palmer sculpture

Erwin Fabian – ‘Palinode’

( Centenarian still sculpting)




chris-ormerod-the-vital-arc-bill-doyle-2012 South Australia

Chris Ormerod,  sculpture– ‘The Vital Arc’






Clancy Warner – ‘Whitewashing History’


Photo – Bill Doyle





Dianne Coulter – ‘Earth Force, Series 3′

7th Palmer Sculpture Biennial – 2016



egbert-wellmann-ambiguous-landscape sculpture

Egbert Wellmann – ‘Ambiguous’ 




Nicholas Uhlmann – Rock Bottom Riser

Nicholas Uhlmann – ‘Rock Bottom Riser’


 Palmer Sculpture Biennial





‘Merging – Emerging figure’  –  Corten Steel – Greg Johns




George Andric – ‘Everything Changes Everything Returns’





‘Guardian Figures’ – Greg Johns

Permanent installation   Photo – Bill Doyle




'Horizon Figure V' - Greg Johns-permanently-installed-on-property-bill-doyle-2014

‘Horizon Figure V’ – Greg Johns


Permanent installation   Photo – Bill Doyle




‘Seeing The Land’  – Greg Johns




Stephen Lloyd,  – ‘Heatwave’


caroline lloyd-flickr


fifth-palmer-sculpture-biennial-south-australia-march-2012 ian-hamilton-and-john-hayward-the-bower-tower-project-large-maquette-2

Ian Hamilton and John Hayward –  ‘The Bower Tower Project’





‘Bird Spirit Vessel’ – Nicholas Uhlmann




‘Return Voyager’ – Nick Uhlmann


Photo – Bill Doyle


john-blines-displaced-1 Palmer Biennial sculpture

John Blines – ‘Displaced 1′




Lorry Wedding-Marchioro – ‘Entanglement’



McClelland Gallery Sculpture Park


McClelland Gallery & Sculpture Park showcases over 100 permanent outdoor sculptures, mainly of contemporary style, set within a diverse landscape of natural Australian bush plants, bracken paths, heathlands, landscaped gardens, sweeping lawns and lakes. The 16 hectares park is situated in Langwarrin on the Mornington Peninsula and includes a cafe. McClelland is a not-for-profit organisation committed to the presentation and promotion of sculpture in Australia and runs the Biennial McClelland Sculpture Survey which selects a new sculpture for the park.

McClelland Gallery & Sculpture Park
390 McClelland Drive
Langwarrin, Victoria
3910 Australia

Admission by donation

Opening hours:
Tues to Sun : 10am – 5pm
Closed on Mondays and
some Public Holidays




‘Alexander The Great’ by Dean Colls



mcclelland-gallery-permanent-collection Karl Duldig - the myth of Echo - female sculpture figure

Karl Duldig – Myth of Echo




Dean Bowen – ‘Echinda’





‘Fell for Silo’ – Robbie Rowlands




louis-pratt-a-backwards-attitude sculpture of a man leaning backwards

‘A Backwards Attitude’ – Louis Pratt





‘Anno Domino’ – Geoffrey Ricardo




lenton-parr-tara McCLelland Gallery

‘Tara’ – Lenton Parr




mcclelland-gallery-Snuffle green sculpture Sebastian Di Mauro

‘Snuffle’ –  Sebastian Di Mauro




mcclelland-gallery-permanent-collection - 'Metamorph' - Erwin Fabian

‘Metamorph’ – Erwin Fabian




mcclelland-gallery-permanent-collection Alien, mid-century style sculpture John Kelly

‘Alien’ by John Kelly




mcclelland-gallery-permanent-collection 'Landing Object II ' by Vincas Jomantas

‘Landing Object II ‘ by Vincas Jomantas



mcclelland-gallery-permanent-collection 'Waterhole' by Sergio Hernandez Merchan seated horse sculpture

McClelland Gallery – Permanent Collection. ‘Waterhole’ –  Sergio Hernandez Merchan




mcclelland-gallery-permanent-collection-geoffrey-bartlett-sculpture 'Rise of the Flowering Plant'

‘Rise of the Flowering Plant’ (Lower cretacious)  by Geoffrey Bartlett




golden-beast-troy-emery high-density-taxidermy-foam,-PVC-tinsel,-polyurethane-adhesive,-steel-rods

Disco yowie ‘Golden Beast’ – Troy Emery




  ‘At the Centre There is Nothing’ – Greg Johns





‘Twisters’  Phil Price, New Zealand


Photo Adrienne Rewi



polaroid-lea-williams contemporary sculpture in a bush locarion

‘Polaroid’  Lea Williams





James Parrett – ‘M Fifteen’




regeneration-2014-sonia-payes - conjoined white abstract female heads

‘ReGeneration’ –  Sonia Payes





Greg Johns – ‘To the Centre II’

2007 – photographs © Marcus Bunyan




Windchime Sculpture




Wanda Gillespie



adrian-mauriks-strange-fruit-2010-photograph © Marcus Bunyan

Adrian Mauriks – ‘Strange Fruit’


photograph © Marcus Bunyan



mcclelland-sculpture-survey-picture-of-mcclelland-gallery-sculpture-park-langwarrin Stainless steel sculpture

Contemporary stainless steel sculpture

McCelland Gallery Sculpture Park



Other Australian landscape sculptures


scrapartoz-the-rain-dragon-by-andrew-whitehead the-rain-dragon-now-lives-in-a-park-in-the-town-of-lockhart-nsw

‘The Rain Dragon’ by Andrew Whitehead

Lockhart, NSW




‘Swagman and Dog’ scrap metal sculpture by Andrew Whitehead




finish-Andrew Whitehead scrap metal horse

Andrew Whitehead Horse and Rider

Shepparton Pony Club, VIC




Andrew Whitehead  scrap metal Boxing Kangaroo sculpture




‘L’Artiste’, by Frederic Berjot

Swell Sculpture Festival, Gold Coast, QLD




Spirit-House-2005 Craig Medson

‘Spirit House’ – Craig Medson, QLD





This sculpture by Milynda Rogers has been nicknamed ‘Barb’ because of  approx. 3km of barbed wire that went into its construction.

Muttaburra, Queensland




The William Ricketts Sanctuary sculpture garden in Mt Dandenong, Melbourne

photo by Trish Hunter



Stephen King Fallout_sxsbondi 2013_cyee_2-

Stephen King – ‘Fallout’

S x S Bondi 2013 – photo Clyde Yee




Tim Macfarlane Reid, ‘Still Connected’

Sculpture by the Sea, Bondi 2015



Jeramie Carters-sculpture-the-dancer photo-a-man-runs-past-jeramie-carters-sculpture-the-dancer-as-final-preparations-are-made-ahead-of-the-sculpture-by-sea-art-exhibition-near

Jeramie Carter – ‘The Dancer’ 

Photo – Sergio Dionisio: AAP



Duncan Stemler_Venus_1997_clyde yee photo

‘Venus’ – Duncan Stemler


Clyde Yee photo



Byung Chul Ahn

 ‘Sculpture by the Sea’ at Bondi to Bronte coastal walk



‘Australia Garden’, Cranbourne

see more of the Australia Garden on veniceclayartists article –  Mystical gardens and sculpture tour



NEXT POST —  Andrea and John Gill – decorative ceramic art


The ceramic recreations of Munemi Yorigami


re-creations - Munemi Yorigami symmetrical sculpture

Munemi Yorigami


Breaking from Japanese ceramic tradition – Munemi Yorigami & Chieko Yorigami


Yorigami finds inspiration in the resurrection of broken ceramic pieces which rise like a phoenix from his kiln. He immensely enjoys the unpredictable abstractions and reconstruction to the modified form. His exploration of the opposing forces of control and unpredictability along with destruction and recreation, leading to the modeling of a new ‘whole’, has been a major influence in his direction in ceramics for several decades. By breaking the form, Yorigami believes he is exposing the ‘heart and soul’ of the clay, which leads to revealing its intrinsic nature. He feels it highlights the hazards of transforming clay during its passage through fire and the risks in kiln baking and the inherent vulnerability to breakage.
The modification of the unexpected results is enhanced by the choice of different glazes and firing for the pieces before reassembly, and Yorigami describes this process of manipulating the clay elements as “transferring memory”. Yorigami rebuilds his sculptures in a vivid patchwork based on the four colours of white, black, ochre and ivory and builds his sculptural pieces from dolomite or porcelain clay with a combination of slabbing, coiling and press-moulding techniques.
Yorigami was born into a family of ceramicists in Kyoto and his father specialized in making teaware. In the late 1940‘s, Yagi Kazuo formed the Sodeisha group which represented avant-garde ideals and looking beyond Japanese ceramic traditions. Yorigami joined this group and was influenced by Kazuo, which contributed to his break from the established ceramic arts.
Yorigami claims that ‘when confronted with clay, it is our instinct to want to conquer it’. He took this to another level where his desire to conquer the baked clay with the re-arrangement of its solid form. Included in the images here is some ceramic pieces by his wife Chieko Yorigami.




the-delightful-days-A pair of recreation sculptures by munemi-yorigami

Re-constructed ceramic sculptures – ‘The Delightful Days’ – Munemi Yorigami


The pieces are baked using three methodologies. The black ceramics are fired in a kiln at a temperature which is elevated to 900℃, then naturally lowered to 500~600℃. I then take fully soaked pine tree leaves and pour them at the opening of the kiln to seal it and smoke the black ceramics. As for white ceramics, it’s burned at 900℃ either under oxidation or reduction atmosphere. Oxidation firing will give an ivory color, while reduction firing will give an even whiter color. With the ceramics kiln used for the orange colour, I take the broken pieces and add vermiculite, and start the reduction firing at 800℃, and smoke burn at 900℃. I re-attach the pieces with adhesives to regenerate its original shape, and finally add plaster to the seam to accomplish the artwork.



Outdoor Re-creation sculpture – Munemi Yorigami




Re-creation Bottle – Munemi Yorigami



5 ceramic sculptures by Munemi Yorigami

Munemi Yorigami



ceramic abstract arrete-sculpture munemi-yorigami

Abstract ‘Arrete’ sculpture – Munemi Yorigami



munemi-yorigami-triangular shaped recreation sculpture

Triangular re-creation sculpture – Munemi Yorigami



munemi-yorigami-wall-panels - three rectangular recreation sculptures

Re-creation Wall Panels – Munemi Yorigami



aya-kon-pot by Cheiko-Yorigami

‘Aya Kon Pot’ – Chieko Yorigami

Chieko Yorigami graduated in ceramics in 1968 and following an industrial ceramics course for a year, she studied for two years under Mr Junkichi Kumakura.




chieko--yorigami-teapot-in black,and sliver with a gold lid

Chieko Yorigami teapot




Lidded ceramic box – Chieko Yorigami





‘Silver color dispenser’ – Chieko Yorigami



clever-writing-munemi-yorigami ikebana-sculpture display with two geometric ceramic pieces

‘Clever Writing’  – Munemi Yorigami




wall-of-red-munemi-yorigami - red, black, white sculpture

‘Wall of Red’ – Munemi Yorigami




‘Cone 1’ – Munemi Yorigami



flower-arrangement green--and-vase-munemi-yorigami

Square ceramic vase with ikebana display – Munemi Yorigami




flower-arrangement green-1-device

Ikebana vase with flower arrangement – Munemi Yorigami




form-of-old Munemi Yorigami-abstract sculpture

‘Form of old’  – Munemi Yorigami




4 lidded vessels – Chieko Yorigami




gold-and-silver-aya-angle-platter-Cheiko Yorigami

‘Gold and silver aya angle platter’ – Chieko Yorigami




Balancing Ball sculpture -Munemi Yorigami



jin-choi-dispenser - Chieko Yorigami teapot with triangle motifs

‘Jin Choi dispenser’ – Chieko Yorigami





‘Mount’ – Munemi Yorigami




munemi-yorigami ikebana cube vase

Ikebana vase – Munemi Yorigami



munemi-yorigami recreation ovoid sculpture on marble base

 Munemi Yorigami ceramic re-creation sculpture




munemi-yorigami conical sculpture

Conical recreation sculpture Munemi Yorigami



munemi-yorigami recreation biomorphic sculpture

Biomorphic re-creation sculpture – Munemi Yorigami




munemi-yorigami symmetrical V sculpture

Munemi Yorigami

“Objects That Preserve The Dignity of Space” 2013

Orie Gallery


munemi-yorigami-thick disc sculpture

Munemi Yorigami re-creation sculpture



munemi-yorigami-recreation sculpture

Munemi Yorigami




Munemi Yorigami




munemi-yorigami-recreations abtract sculptures

Munemi Yorigami




Munemi Yorigami




munemi-yorigami-ceramic-egg-scuulpture artland-gallery-jp

Re-creation Egg Sculpture – Munemi Yorigami




Saki Vessel – Chieko Yorigami




Re-creation Wall Sculpture – Munemi Yorigami





Public Re-creation sculpture – Munemi Yorigami




Munemi Yorigami




Public Re-creation sculpture – Munemi Yorigami





Re-creation sculpture – Munemi Yorigami




 Re-creation sculpture – Munemi Yorigami




ovale-recreation sculpture - Munemi Yorigami

‘Ovale’  – Munemi Yorigami




re-creations-idaku-part-3 by - Munemi-Yorigami-

Re-creations Idaku part 3 –  Munemi Yorigami




‘Oh Yeah’ –  Munemi Yorigami




‘Rings’ –  Munemi Yorigami



the-shape-of-the-pot-munemi-yorigami ceramic art

‘The Shape Of The Pot’  Munemi Yorigami



torso-in-hexagonal-Munemi- Yorigami Japanese ceramic sculpture

‘Torso In Hexagonal’ – Munemi- Yorigami




Chieko Yorigami

Aberystwyth University Ceramics Collection



house-2-munemi-yorigami - contemporary Japanese ceramic srt

House 2 – Munemi Yorigami





‘Pebble Cup’ Chieko Yorigami

Porcelain 9cm high–1992




Contemporary porcelain dual crescent sculpture – Munemi Yorigami






Re-Creations ‘Idaku part 1′ –  Munemi Yorigami






NEXT POST —  Aussie sculptural landscape


Elegant design nuance of Art Nouveau



Art-Nouveau elegant design




Pierre Adrien Dalpayrat, Bourg-la-Reine, France

Jean-Pierre Dalbéra – flickr




Hotel Bouctot Vagniez, Amiens, France – Art Nouveau fireplace

When I saw this stunning Art Nouveau fireplace, I was immediately inspired to do another article on the fascinating Art Nouveau, fleshed out with other images from this remarkable genre.



The allure of Art Nouveau


At the dawn of the 20th century, the Art Nouveau artistic movement was thriving and peaked in popularity from 1890-1905. It was characterized by distinctive plant, insect and animal motifs that were presented with stylized forms, and accentuated with sensuous, curvilinear details mixed with the abstract and asymmetrical. These were further highlighted by sudden ‘whiplash’ curves, angular contours and other graphical maneuvers adding to the elegant grandeur. This revolutionary reaction to the eclectic, historical and academic styles of nineteenth-century art was embraced by a diversity of artists and craftspeople wanting to move towards new styling for the ‘modern age’ of the 20th Century. Its pervasive influence was witnessed with the participation of painters, illustrators, sculptors, architects, ironworkers, furniture designers, interior decorators, potters, jewelry designers — in fact, nearly every kind of artist-craftsman.
The organic naturalism of Art Nouveau, with its intricate patterns of vines, flowers, tree branches and other botanical aspects reflected the late 19th Century European fascination with Japonism (Japanese arts), which had been particularly popularized with ukiyo-e (woodblock) prints and the sophisticated aestheticism of the Japanese ceramics.


Ernst-Wahliss-Porcelain-Paul-Dachsel-Leaf-Vase with 4 lug handles

Porcelain Leaf Vase by Paul Dachsel for Ernst Wahliss Co


The flowing, graceful style of Art Nouveau was promoted through its use in architectural features, being visible with balconies, staircases, doorways, facades, wrought iron gates, lampposts and railings, all displayed with rich details and superb craftsmanship. Every time you entered the Paris Metro you were confronted with a beautiful Art Nouveau entrance designed by Guimard. The genre was also highly visible with the embellishment of panels, ceilings, borders, friezes and walls with elaborate images of animals, insects, flowers, lush decorative details and other inspirations from nature. The use of exquisitely ornate typography in the popular Art Nouveau posters and advertising was also a poignant feature.


Art-Nouveau-staircase at Gorky House Museum in Moscow

Gorky House Museum, Moscow


Yesterday upon the stairs
Glanced a forest full of maidens bare
Nymphs and fairies dwelt there to
Enchanting world this art nouveau


There was a collective desire at the beginning of the 20th century for the newly rich to decorate and enhance their dwellings in an innovative style, combined with people beginning to appreciate furniture, interior and decorative products as entwined parameters in an environment that could be integrated through design. The sumptuous, stylized creations of the distinctive Art Nouveau seemed to be a perfect fit. The sheer sensuality of line and delicate interplay of color provided the lavish design elements that were craved along with the diversity of choice. Original styles abounded with entertaining fantasies populated with a remarkable array of exotic motifs, including peacocks, parrots, dragons, beguiling women, lilies, wild roses and butterflies on offer.
The curvaceous, sinuous lines and geometric patterns adapted naturally to the curves of ceramic vases as it did with precious stones and the intricate details of metal jewelry. Art Nouveau ushered in a liberated design era with its influence spreading to subsequent forms of modernist art, style innovation and awareness that has perpetuated to this day.



ANTIQUE-AUSTRIAN-ART-NOUVEAU-Iris female figurine vase

 Amphora Iris vase





Belle Epoque Carved Agate, Pearl, Gold Naiad (fresh water mermaid) and Sturgeons jewellry brooch

Tadema Gallery




Amphora-Ceramic-Figural-Centerpiece of a girl seated on a leaf

Amphora Art Nouveau figurine




Saules-soleil-couchant-( sun setting Saules ) vase Daum-Nancy

Saules soleil couchant-(sun setting in Saules) vase Daum-Nancy





Zsolnay-Art-Nouveau-teapotTurkish coffee server with lid c. 1880Hand-painted majolica undulating leaves and buds...

Turkish coffee server with lid by Zsolnay, Hungry

c. 1880 – Hand-painted majolica with undulating leaves and buds



Art-Nouveau-nude-female-bronze sculpture

‘Reine Des Pres’ vase – Louis Chalon




Zsolnay-Three-Graces-figural lustre glaze bowl--Pinter-Auctions

‘Three Graces’ eosin lustre dish – Zsolnay






Royal Vienna – Turn Ernst Wahliss Art Nouveau Slip Glazed Majolica Vase




Royal-Copenhagen-Art-Nouveau-Vase,-Decorated-with-lily Flower

Royal Copenhagen Art Nouveau Vase



Zsolnay-vase-with-dancing-female-figures and eosin lustre glaze

Zsolnay eosin vase with raised relief dancing female figures




Rosenthal Germany Rare Figurine Temple Dedication by F. Liebermann, circa 1914---City-Antik-Vienna

 ‘Temple Dedication’ by F. Liebermann, Rosenthal Germany

circa 1914—City Antik, Vienna





Calla Lily Vase. Glazed & Gilt Pottery. Paul Dachsel

Turn Teplitz,  Austria. Circa 1906 – height 14″




Patten-Wilson---Deceit-1898 seated women with serpent

‘Deceit’ – Patten Wilson





‘Moon Alley’,-  John Atkinson Grimshaw





Art Nouveau brooch – Luis Masriera




wmf Art Nouveau pewter twin handled vase

circa 1906, Christies




Teplitz Art Nouveau centrepiece – Eduard Stellmacher





‘Allégorie’ vase by Amphora Werke Reissner






 Porcelain Figural Candle holder – Ernst Wahliss





Royal Dux Porcelain Figurine






Bronze two light Sconce on Marquetry Easel – Georges Flamand French Art Nouveau

Macklowe Gallery NY




Gustav Manz for F. Walter Lawrence Art Nouveau Chimera Brooch-Vintage Luxury

Gustav Manz for F. Walter Lawrence Art Nouveau Chimera Brooch






Hotel Bouctot Vagniez, Amiens





Eternal Entwined–peridot and pearl Serpent Brooch  – Karl Rothmuller





Loïe-Fuller-1900 art-nouveau statue

Loïe Fuller, 1900





Alabaster Lamp of an Art Nouveau woman – carved by O. Rossi, Italy circa 1920





 ‘LE Secret’  –  Charles Korschann, an Art Nouveau Two Patina Bronze Clock


Robert Zehil Gallery, Monte Carlo




Black-Lacquer-and-Gold-Screen-Attributed-to-Paul-Feher- hybrid art deco - art nouveau

Black Lacquer and Gold Screen- Art Deco/Art Nouveau – Paul Feher






Amphora reptile textured ceramic vase





Elvira Studio Art Nouveau facade designed by August Endell

Munich 1897 ( destroyed in 1944)



Art-Nouveau-vase with face motif and mushrooms on the rim

Amphora art nouveau vase




Art-Nouveau-pendant of a nude female.-Maison-Vever

Art Nouveau pendant -Maison Vever




Red Art-Nouveau-Sang-de-Boeuf-Gourd-Vase-by-Pierre-Adrien-Dalpayrat Jason-Jacques-Gallery-NY

Art Nouveau Sang de Boeuf Gourd Vase by Pierre-Adrien Dalpayrat

Jason Jacques Gallery-NY



Art-Nouveau-Porcelain-Jardiniere with nude female figure relief-by-Amphora-Teplitz-1900-1910

Art Nouveau Porcelain Jardinière by Amphora, Teplitz




Parisian Art-Nouveau-facade

Parisian Art Nouveau entrance





Art Nouveau Blood Vine Pitcher by Léon Kann for Sèvres

1stDibs Jason Jacques Gallery-NY




Art Nouveau/Art Deco marble mantel clock—Ruyten





Art Nouveau figural  vase – Amphora





Art Nouveau Amphora Figurative Vase Centerpiece Bowl

A Touch of The Past Antiques





Art Nouveau Amphora Blow Out Portrait Vase

Austria, 1900




 ‘Sweet Pea with Bust of a Woman’ Lorgnette Handle gold-enamel-cast glass. Art Nouveau ~ Rene Lalique 1899-1900

via ‘The Jewels of Lalique’ Yvonne Brunhammer






Arial—Graal Vase by Edvin Ohrstrom for Orrefors





Austrian Art Nouveau figural winged nymph lamp




Amphora Winter Snow Art Nouveau Vase by Ernst Wahliss





Ceramic footed vase with owl – Amphora




Amphora face motif ovoid vase - -Philip-Chasen-Antiques

Amphora vase – crowned female motif




Art-Deco-Art Nouveau Medallion-by-Pierre Turin

Octagonal medallion sculpted by Pierre Turin



Amphora-Klimt-gold, blue and white Vase-1901

Amphora Klimt vase



Amphora-Ceramic-Gourd Vase-w--Applied-Dragon-Handles

Amphora ceramic gourd vase twin dragon old handles





Art Nouveau bird motif vessel with mermaid handle





Amphora vase




Vase soliflore by Amphora Werke Reissner





Quad gold handled Amphora vase





Amphora Ceramics Art Nouveau Figural Vide Poche dish





Amphora Gres Bijou Pitcher




Amphora-Ceramic-Green Dragon-Vase

Amphora dragon vase




Amphora-Art-Nouveau-Vase-Circa-1898 Very-Vintage-LA-Gallery

Amphora Art Nouveau Vase

Circa 1898

1stDibs Very Vintage LA Gallery




Amphora Allegory Portrait vase

Chasen Antiques




Pierre-Adrien Dalpayrat

Art Nouveau Gourd Vase by Pierre-Adrien Dalpayrat

19th C.

1stDibs Jason Jacques NY




Plique A Jour Butterfly Nude Lady Brooch





NEXT POST  —  The ceramic recreations of Munemi Yorigami


Art of the Buddha




Gautama Buddha in Padmasana (lotus pose). Bas relief on copper plate

photo – Francis Chung-Flickr


Buddha and Bodhisattva arts and wisdom    


I always enjoy studying the statues of the Buddha, especially when in Asia. Not only because of the quality of the art that goes into their creation. but because they invariably reflect a presence of calm, and serve as a glimpse into the state of enlightenment.

The Buddhist’s believe that in Kama Loka ( the sensual realm on Earth ), contentment is elusive, suffering is imminent and our prime motivator is desire, so it is not surprising that the Buddha, when he ventured from his sheltered palace life, was disturbed by what he witnessed. As Garfinkel described in his book ‘Buddha or Bust’, the Buddha, as the “original baby boomer, indulged by his parents’ opulence and depressed by their empty materialism, became a guy who was in need of a long road trip to clean out his head.”
Fortunately for Buddhist art, the Buddha’s extensive travels and the ongoing spread of his teachings throughout most of Asia and more recently in the West, has contributed to its rich diversity and like most religious arts, has attracted the funding, along with devoted artisans with dedication, to achieve exceptional results. Most images of the Buddha are a vision of contemplation and he is usually displaying various mudras (hand gestures), each conveying a particular spiritual quality.


The-Dazu-Grottoes Buddhist sculpture Bao Ding Mountain Circle of Life.

 Bao Ding Mountain Circle of Life.

The Dazu Grottoes, China



Buddha garden statue - Pavel Bobrovskiy photo

Stone Buddha garden sculpture


Sentimental journeys thru the past, wishful flights of fancy into the future, all deflections from embracing the moment and relishing our gifted sublimity in the present.

The Buddha says, “Praise and blame, gain and loss, pleasure and sorrow come and go like the wind. To be happy, rest like a giant tree in the midst of them all.”

At certain times, a silent mind is very important, but ‘silent’ does not mean closed. The silent mind is an alert, awakened mind; a mind seeking the nature of reality.  —–  Lama Yeshe



rare-hand-carved-red coral-statuette-displaying-the-four-armed-Bodhisattva-of-Compassion

Rare hand carved coral statuette displaying the four armed Bodhisattva of Compassion



Antique-Iron-Amitayus-Statue Buddha Amitayus or Buddha of Limitless Life is a Buddha aspect or a deity associated with meditations and mantras for a long life

Antique Iron Amitayus Buddha Statue

Also known as Buddha of Limitless Life, a Buddha aspect or a deity associated with meditations and mantras for a long life





Female Bodhisattva ‘Tara’




Handpainted turquoise Buddha bronze head




Antique Chenrezig statue, Tibet




Birth of Buddha in Lumbini Sahri Bahlol, 2nd-3rd Century AD. Slate

Carved slate panel depicting the birth of Buddha in Lumbini   Sahri Bahlol, 2nd-3rd Century AD.  Slate

Peshawar Museum




A-Buddha-Photo---Zen-meditating Buddha garden statue---Kyoto-Japan

Meditating Buddha statue, Kyoto




Beautiful-Kannon-statue - The Yumedono Kannon of Horyuji

The Yumedono Kannon of Horyuji, Japan

6.5 feet tall




Spring blossom and Buddha statue in Kamakura, Japan


Japan developed an extremely rich figurative art for the pantheon of Buddhist deities, sometimes combined with Shintō influences. Kami, Japan’s indigenous religion, dated back to the prehistoric times, and foreign Buddhism never quite fused, but a combination of Buddhist and Taoist elements, and the incorporation of shamanistic features of the indigenous religion remained however, inextricably linked all the way to the present day, always interacting ― It is quite unusual that an indigenous polytheistic belief including nature worship, animism, ancestor worship, shamanism, and myth still prevails in a modern society like Japan. Shintō’s strong aesthetic component, a reverence toward materials and processes, continues to permeate the crafts and the arts. (




Seated Buddha sculpture-with-his-hand-in-the-teaching-mudra

Bronze Buddha statue displaying teaching mudra



“The recognition that essentially you are the world, that there is no subject/object split, that there is no separation between you and “all that is” – this realization, even at the conceptual level, changes consciousness.

When this realization gets in deeper and becomes more self evident, consciousness changes again, and again, as one lives their life more consciously. And this elevated state of consciousness affects all consciousness around it – like ripples on the pond of collective consciousness.

Ripples can become waves and waves become tsunamis. And it begins with willingness, with intention, with you, right here, right now. The quality of your awakening, awakens the world around you.” – Eric Allen Bell



Buddhist-monk-carrying Buddha shrine on his back in-Tibet

Buddhist monk, Tibet



Buddhist-stone-statue interior decorating

Seated Buddha sculpture,  Axel Vervoordt’s Castle, Belgium


A lifetime is not what is between the moments of birth and death. A lifetime is one moment between my two little breaths. The present, the here, the now, That’s all the life I get. I live each moment in full, In kindness, in peace, without regret.    ….   Chade Meng, Taoist poet




Buddha-head -Thailand embedded in a tree trunk

Ancient Buddha head – Ayutthaya Kingdom, Ancient Capital of Thailand




Buddha statue at Koyasan (Mount Koya) — Photo Rolfe Horn

Weston Gallery





Wall relief Kuan Yin – Keelung Temple  cave



Gamin’ the aggressor

While giving a lecture, the Buddha was interrupted by a man who was vocally hostile towards the Buddha’s teachings, interjecting throughout the talk. The Buddha was unmoved by this display and after he had finished, calmly asked the rowdy person, how do you respond to the situation where, after having a guest for dinner, there is unfinished food. He replied that they always eat the food because it’s not good to be wasteful. The Buddha responded – “likewise,  I didn’t choose to taste your anger so you will also have to consume it. However, out of compassion, I welcome your hostility. Being fully detached from it, I will gratefully absorb the misguided emotions you have gifted me and transmute it into love. You might feel somewhat depleted for this act of folly and even agitated because I was unfazed, but hopefully, the empty space you created within yourself might absorb some of my consciousness, which could help you find the WAY. I am aware you desired a response of fear or mutual aggression, but I can’t offer either knowing this will deplete me and be of little benefit to you. Peace always dwells inside you.”


red robed ceramic-Buddha-figurine-sculpture

Seated porcelain Buddha figurine





 Bronze Statue of Jeso-Sama, Hakone Lake – photo by Felice Beato

ca 1865


“Buddhism also explains that the fundamental nature of human consciousness is pure and clear; that the nuclear essence of human beings is their mind, not this body of flesh and blood. Furthermore, we believe that recognizing our lives as pleasurable or miserable depends largely on how our mind interprets them. If you think your life is miserable, it becomes miserable.” -Lama Yeshe.


Garden-meditation-Buddha with small waterfall

Garden Buddha statue





Japanese National Treasure Maitreya Buddha statue with Hanka Shiyui (thinking) pose

Chūgū-ji (中宮寺) temple, Japan


“Meditate more and more deeply, until calmness and joy become second nature to you. To be ecstatic is not difficult. It is thinking that it is difficult that holds you apart from it. Never think of divine joy as distant from you, and it will be with you always. Our innate nature is unconditional joy, clarity and knowledge. This is accessible to all.” – Paramhansa Yogananda





Qingbai Glaze Porcelain Kuanyin Buddha

Jingdezhen Kiln, Song Dynasty





Red patina bronze Buddha standing on a lotus-shaped pedestal, mandorme cloisonne decorated with flowers

Late 19th – early 20th century

Height: 80 cm





Kuan Yin @ Green Gulch Zen Center by edwinsail on Flickr



At the center of your being you have the answer, you know who you are and you know what you want. – Rumi




Bowenite Carving of Kuan Yin, China, 20th century

Height 8.5 inches


“When you look upon another human being and feel great love towards them, or when you contemplate beauty in nature and something within you responds deeply to it, close your eyes for a moment and feel the essence of that love or that beauty within you, inseparable from who you are, your true nature. The outer form is a temporary reflection of what you are within, in your essence. That is why inner love and beauty can never leave you, although all outer forms will.” — Eckhart Tolle



White Kuan-Yin-Garden-statue- Wellington Heights

Kuan Yin statue, Taipei




Kuan-Yin----Goddess of compassion standing statue

Kuan Yin





Wood carving of Kuan Yin in a Thailand temple


“When you keep your inner calm; you will not be carried away by your emotions and the opinions of the majority”. ~ Thich Nhat Hanh




This bronze Buddha statuette was discovered in 1954 on the  small island of Helgo, located in Lake Malaren, to the west of Stockholm It  was an important Viking trading center in the 6th-11th centuries AD.



Buddhist cave temple - Marble-Mountains,-Vietnam---Ngũ-Hành-Sơn---Five-elements-mountains

Buddhist cave temple – Marble Mountains, Vietnam

Five Elements Mountain in Danang




Five Elements Mountain in Danang, Vietnam





White Buddha statue, Five Elements Mountain in Danang

Sparkling ripples through the pines
transient jewels, dancing random rhymes
time suspension, the true dimension
take the plunge, no apprehension




Wall of Buddhas, raised relief

Five Elements Mountain in Danang




Gilded Ming-Dynasty-Buddha,-16-inches,-sold-to-Internet-bidder-for-$54,900.-I.M.-Chait-image

Ming Dynasty Buddha




gampopa - was the foremost disciple of Milarepa,dressed in red

Gampopa statue –  disciple of Milarepa



National-treasure-of-Japan Miroku Bosatsu statue

Japanese National Treasure, Miroku Buddha statue at Koryu-ji Temple, Kyoto, Japan





Japanese Amida Buddha  sculpture, 19th century





‘The Buddha’. Odilon Redon. 1905.

Musée D’Orsay, Paris





 Maitreya Buddha – Carved marble sculpture with traces of paint and gilding

China, Six Dynasties period, Northern Qi dynasty, 550-577






Rare hand carved Lapis Lazuli Medicine Buddha sculpture





Raku ‘Buddha Statue Seated in the Clouds’ Sculpture-Anita Feng – The buddhabulider






‘Buddha’ – Odilon Redon





Copper Bronze Kuan Yin




Shoton-Festival-Thangka,-Drepung,-Tibet - huge thanka in the Himalayas

Shoton Festival Buddha Thangka, Drepung, Tibet





‘Kyaiktiyo Pagoda’

Also known as ‘Golden Rock’, it is a well-known Buddhist pilgrimage site in Mon State, Burma. It is a small pagoda (7.3 metres (24 ft)) built on the top of a granite boulder covered with gold leaves pasted on by devotees. According to legend, the Golden Rock itself is precariously perched on a strand of the Buddha’s hair. The balancing rock seems to defy gravity, as it perpetually appears to be on the verge of rolling down the hill. The rock and the pagoda are at the top of Mt. Kyaiktiyo.





Beautiful hand carved nephrite jade statue of Milarepa, capturing his essence

The Tibetan Saint Milarepa was famous for his spontaneous songs of realisation. During his 12 years of strict retreat in the mountains he subsisted on nettle tea and eventually it turned his skin green, hence the reason he is often crafted in a green colour.





Chinese Buddha Vairochana with the wisdom mudra: the right fist enclosing the index finger of the left.

A celestial Buddha important in Asia from the 8th to the 12th Century




Bronze Standing Buddha, Hakuho period, Japan, ca. 710-794

Standing Buddha, Hakuho period, Japan, ca. 710-794




Statue-of-a-Standing Buddhist-monk,-located-in-a-garden-within-Seven-Star-Park,-Guilin,-China

Statue of a Buddhist monk, located in a garden within Seven Star Park, Guilin, China.





Buddha statues –  Longmen limestone caves. Luoyang, China. Tang Dynasty. 493–1127 C.E.





Buddha carved into a mountain at Hakone, Japan




black and white Kuan Yin painting

Kuan Yin painting




garden- buddha-stone-statue

Padmasana Buddha stone statue



A monk asked, “What is the great perfect mirror?”

The master said, “A broken earthen pot.”

Ch’an Master Yung-ming Yen-shou (904 – 975 CE):




 The Bodhisattva Guanyin of the Southern Sea (Nelson-Atkins Museum of Art, Kansas City)





Submerged statue, Bali





Classical Buddhist culture creative hands Buddha ceramic lamp



buddha-saria-stupa-inner Kingold Museum

Buddha Saria Stupa Inner  – Kingold Museum

Jewel encrusted portable temple for transporting the crystallised ashes of Shakyamuni Buddha




Manjushri Bodhisattva






NEXT POST  —  Elegant design nuance of Art Nouveau


London international ceramics exhibition



Erskine, Hall and Coe – International Ceramics exhibition 


A collection of contemporary ceramics from 12 renown artists is currently showing at the Erskine, Hall and Coe gallery up until the 8th September, 2016.

The earliest work in the exhibition is a trio of bowls by Lucie Rie, dating back to 1949, and the most recent is from last year by renowned Japanese artist Machiko Ogawa. Classic tea bowls by Ryoji Koie can be seen alongside abstract sculptural forms by Catalan artist Claudi Casanovas. Works by Hans Coper, one of the giants of 20th century ceramics, are within sight of emerging artist Zung-Lung Tsai, showing outside of his native Taiwan for the first time.


Opening hours: Tuesday to Saturday, 10am – 6pm

15 Royal Arcade
28 Old Bond Street
London W1S 4SP

020 7491 1706
[email protected]




Exhibiting artists


Claudi Casanovas



Claudi Casanovas-‘Black Squared Form’, 1990


Gordon Baldwin


‘The role I take is Artist as explorer with the vessel as my basic structure (like the structure of a Haiku) Each piece begins out of a strange compulsion to take certain action. I suppose the compulsion comes from things heard, things seen, things read, things done by drawing and previous work. I usually work in a series constructing by the traditional method of coiling discovering the piece as I proceed. It is an intuitive process carried on without analytical thought, The piece is made when the resonances are right (for me). The Titles hint at the effect the pieces have on me and the contacts that have been made within the soup of my experience. The surfaces are dealt with weeks or months later. A lot of staring at the pieces is involved – a sort of thoughtless gaze until there is necessary action. Of course each new piece is informed by the experiences I have already had in the studio. Different sorts of darkness and different sorts of silence are concepts that interest me. I work from an inner compulsion to explore my identity by working.’



Gordon Baldwin ‘Torso Pot’, 1964

Earthenware, slips and copper, 57.5 cm




Gordon Baldwin ‘Torso Pot’, 1964




Gordon Baldwin ‘Warrior’, 1950s

Earthenware, 76 cm (h)


Gwyn Hanssen Pigott



Gwyn Hanssen Pigott


Hans Coper



Hans Coper Bowl – 1950’s



Hans-coper-mid-century-bowl with internal abstract motif

Hans Coper Bowl – 1950’s




Hans Coper – ‘Digswell Form’ 1963

Stoneware with black manganese



Ian Godfrey



Ian Godfrey- ‘Cornucopia Lidded Vessel’, 1970




Ian Godfrey- ‘Cornucopia Lidded Vessel’, 1970



Jacqueline Lerat



Jacqueline Lerat – ‘Chateau Japonais’, 1994

Stoneware, 30 cm (h)



Lucie Rie


“To make pottery is an adventure to me, every new work is a new beginning. Indeed I shall never cease to be a pupil. There seems to the casual onlooker little variety in ceramic shapes and designs. But to the lover of pottery there is an endless variety of the most exciting kind. And there is nothing sensational about it only a silent grandeur and quietness.
If one should ask me whether I believe to be a modern potter or a potter of tradition I would answer, I don’t know and I don’t care. Art alive is always modern, not matter how old or young. Art theories have no meaning for me, beauty has. This is all my philosophy. I do not attempt to be original or different.”



Lucie Rie Bowl -1960



Lucie-Rie-Small-Vase,-c 1980

Lucie Rie-Small Stoneware Vase, c 1980



Lucie Rie contemporary Turquoise Bowl with Bronze Rim, c. 1983

Lucie Rie Turquoise Bowl with Bronze Rim, c. 1983




Lucie Rie




Lucie Rie contemporary Vase, c. 1959





Machiko Ogawa



Machiko Ogawa, 2015




Machiko Ogawa, 2015




Machiko Ogawa, 2015





Machiko Ogawa, 2015

Porcelain with silica sand and Feldspar





Machiko Ogawa, 2015


Magdalene Odundo



Magdalene Odundo Polished and carbonised terracotta, Height – 30 cm  1984


“Magdalene Odundo is an artist whose ceramics not only effortlessly bridge the ancient and modern but also relate to African and European culture, her vessels offering an understanding of the ‘pastness of the past,’ but also of the present,”

“Her pieces conjure all these images and particularly those that depict marking occasions and ritual because she has grounded them in her African/Kenyan roots where the process of life was shadowed by pots.” – Emmanuel Cooper



Ruth Duckworth


“Play is the essence of creativity. Creative play and gut reaction, instinct. When I work on a piece I play. I have a whole huge section of the studio where I have an inventory of sculptural forms, simple abstract, non-specific shapes that I find beautiful and enjoy making. Then I start building these shapes together. And then I find myself smiling. I say “hello! I think I‟ve got something.‟ The process is intuitive, not intellectual. You have to learn to be spontaneous and trust yourself.”




Ruth Duckworth – contemporary ceramic vessels




Ruth Duckworth Wall panel -2006

“Form is what matters to me in any material… Pattern intrigues me. Colour can give me pleasure, but form moves me. When I was still a student in London, I went to a big Indian exhibition. Two large rooms with sculpture, stone and bronze mostly, and one room with paintings. Beautiful miniature paintings. That day I decided I would be a sculptor, not a painter. The three-dimensional nature of the sculpture grabbed me and hasn‟t let go yet. That was more than 60 years ago.”



Ryoji Koie



Ryoji Koie Tea Bowl, 1990




Ryoji Koie Tea Bowl, 1990



Zung Lung Tsai


“The hidden tranquil space in the work is like a cave: it has incredible power. It is not just a visibly real space, but also builds and strengthens the work’s content. There the eyes can find rest, the brain can think in peace, and moods can turn around and settle inside.”



Zung Lung Tsai – ‘Phototropism 1405’, 2014




Zung Lung Tsai – ‘The Temperature of Tranquility’, 2009

Ceramic & natural ash glaze, 30 cm (h)



Zung Lung Tsai – ‘The Temperature of Tranquility’, 2009




Zung Lung Tsai – ‘Phototropism 1408’, 2014

Ceramic & white glaze, 30 cm (h)



Zung Lung Tsai – ‘Phototropism 1408’, 2014




Zung Lung Tsai – ‘Phototropism 1408’, 2014




Zung Lung Tsai – ‘Phototropism 1408′, 2014




Zung Lung Tsai – ‘Phototropism 1408’, 2014





NEXT POST  —  Art of the Buddha


Shino glaze diversity – Adam Whatley



Adam-Whatley-shino footed vessel

Adam Whatley


Adam Whatley is a ceramic artist based in Escondido California. Each of his pieces features different glazes, washes and clay additives and are fired between cone 6 – 10. His methods and techniques are documented on his flickr page at texasadam and I’ve included some here to highlight the diversity of his wares.

Adam Whatley’s Website 


Shino Glaze


The shino glazes have properties that make them ideal for wood firing. They are very reactive and offer a plethora of textural and colour responses to the variation of temperature and atmospheric conditions present in a wood fired kiln. The reduction phase of every stoke cycle encourages carbon trapping in the soda rich glazes and the shino glazes thrive in long sustained temperature firing and the slow cooling cycle typical of wood firing. The appealing rich shino surface is the result of the sympathetic melding of a clay body and feldspathic during a long firing and slow cooling process. The natural colour responses to the ash glaze deposits are endless and traditionally soft and radiant colours of white, peach, gray, blue and red surfaces were created. Over the years a multitude of shino glaze recipes have been developed, most being a combination of various soda fluxes and clay.



Tsurara-(氷柱 ‘Icicle’ -1930) Kato Tokura


Shino was the first white glaze used in Japanese ceramics and was fired in Anagama kilns. The Japanese word for white is ‘shiro’ which is probably the origin of the descriptive term for the glaze, but it has also been attributed to the tea master Shino Soshin, who had a favorite white-glazed, ‘shoe-shaped’ bowl, imported from South Asia, which he used as a teabowl.
In Japan in the 1930s and 1940s, two Japanese potters, Toyozo Arakawa and Hajime Kato, developed the first modern Shino glazes by studying Monoyama Shino pots. The subtle appearance and beauty of the original shino ware glazes also acted as a stimulus for potters outside of Japan to recreate these glazes using different soils and firing techniques, which resulted in many fascinating variations. The natural colour responses to the ash glaze deposits are endless.
In the 70’s, Virginia Wirt developed a glaze formula that combined soda ash and spodumene to the base of feldspar and clays with the objective of emulating the Japanese Shino. This came to be known as ‘American Shino’ and spawned numerous variations. Although many different colorants and fluxes can be added, creating a wide range of effects, Shino glazes in America tend to be characterized by the use of soda ash and by a high ratio of alumina to silica.
Saggers were used in Japan to protect the glaze from ash deposits and flames and in some instances they weren’t employed to encourage the likelihood of interesting yohen ( accidents) which led to rich colours and surface texture. Additional materials such as straw, oyster shells and rice husks were placed near the clay pieces to also enhance colours and textures.


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Adam-Whatley-ceramics footed shino cup

Adam Whatley




Cup-Tinure-by-Adam-Whatley cup with textural glaze

‘Cup Tinure’ by Adam Whatley

Powder blue grey to deep walnut brown exterior from oxide wash. Very textured surface from burned out organics. Inside is white with burnt orange and dark areas from clay body where glaze has been removed.




Adam-Whatley--Rosslare shino rice bowl

‘Rosslare’ rice bowl – Adam Whatley

Shino and glass combine with cobalt blue and iron oxide to make a great surface on this cup/bowl. The inside is a bright white glaze with spots of orange iron oxide showing through. Turquoise glass drips surrounded by a deep maroon border run down the outside. Made from clay pulled from Texas soil and fired to cone 10. Perfectly holds whatever you choose.




Shino-Bowl-Arvagh stacked clay strip bowl - Adam Whatley

‘Arvagh’ Shino Bowl – Adam Whatley

Hand built shino glaze and dark green glass are combined for a shiny and beautiful exterior of stack clay strips. Orange iron oxide shows on edges. Inside the shino glaze combines with a clear glaze too create a blistered effect around the rim and a smooth white interior.



Shino-Cup-Ardmore by Adam Whatley - Shino and glass combined with cobalt and iron oxide

‘Ardmore’ Shino Cup by Adam Whatley

Shino and glass combined with cobalt and iron oxide to make a great surface on this larger size cup/small bowl. Made from clay pulled from Texas soil and fired to cone 10. Perfectly holds whatever you choose. Microwave and dishwasher safe.



Shino-Cup-Clon by Adam Whatley

‘Clon’ Shino Cup by Adam Whatley

Twice fired surface with a matt turquoise over a shino glaze and cobalt blue wash. The inside is a glossy white with small areas where the cobalt pushed through from the outer clay surface during firing. In the sun small reflective mica particles show up.



Tall-Bowl-Furbo-H6 inches - Adam Whatley

‘Furbo’ bowl – Adam Whatley

A tall curved semi bowl perched on top of a base with tiny vertical cuts that has been dipped in spodumene glaze. Lime green, grey, and a pale yellow all show up in the beautiful glaze. Where the glaze gets thin is a burnt orange stripes from iron oxide. The inside of the bowl is a solid clear glaze showing the bright white clay underneath. This is a great decorative item or you can use it to hold some small items like nuts or candy.with stoneware clay pulled from Texas soil and fired to cone 10.





‘Rerrin’ shino cup by Adam Whatley




Soda-fired-lamp assembled with clay strips by Adam Whatley

Soda fired lamp – Adam Whatley




Adam-Whatley shinp tiered cup

‘Ballon’ oribe bowl – Adam Whatley

Glass frit combines with a deep oribe green glaze to make a really interesting surface on this bowl. Inside is a clear coat over a two types of stoneware clay marbled together. Amazing purples, deep ruby red, powder blue and aqua green all show up and gather around the bottom of the bowl to form drops.



Coolmine1 - shino cup by Adam Whatley

‘Coolmine 1’ – shino cup by Adam Whatley

Extremely textured shino surface with crawling glaze on exterior. Dark areas of iron oxide and manganese. Inside is a smooth surface with white wood ash shino and creamy opal glass frit.



umami2 ceramic platter by Adam Whatley

‘Umami 2’ – Adam Whatley



Adam-Whatley-ceramics - ribbed shino bowl

Adam Whatley shino bowl





‘Cashel’ – Adam Whatley




Adam-Whatley-ceramics shino vessel

‘Sunna’ shino bowl – Adam Whatley



Shino-Cup-Black-Adam-Whatley - footed ceramic drinking bowl

‘Shino Cup Black’

Heavily textured shino surface with crawling glaze on exterior. Dark areas of iron oxide and manganese. Inside is a white wood ash shino with creamy opal glass frit and areas of raw clay with iron oxide spots.



Adam-Whatley-ceramics--shino vessel

Textured shino cup – Adam Whatley



Adam-Whatley-ceramics - Nass shino cup - combination of iron oxide and cobalt to create a black stain

‘Naas’ – Adam Whatley

Shino and glass combine to make a great surface on the inside and outside of this small tea cup. The exterior has a combination of iron oxide and cobalt to create a black stain that is then carved to create a very unique pattern. Inside the glaze runs down in a deep maroon to the bottom where it turns a clear turquoise. Made from clay pulled from Texas soil and fired to cone 10. Perfectly holds whatever you choose. Microwave and dishwasher safe.



Oribe-Cup-killala by Adam Whatley

 ‘Killala’ Oribe Cup – Adam Whatley

Glass combines with a deep oribe green glaze to make a really interesting surface on this cup / bowl. Inside is a coat of bright white porcelain over a stoneware clay body. Amazing purples, deep ruby red, powder blue and aqua green all show up in this glaze.



Aughrim-with-mushrooms by Adam Whatley

‘Aughrim’ with mushrooms



Ashbourne shino tea bowl - Adam Whatley

‘Ashbourne’ – shino bowl – Adam Whatley




Balboa-Park-Adam Whatley - Texasadam flickr

‘Balboa Park’ – Adam Whatley



Ikebana-Vase-Nenagh by Adam Whatley

‘Nenagh’ Ikebana Vase by Adam Whatley

An Ikebana vase with an iron rich clay body with black gosu and a milky clear glaze running across the surface. A moss green speckle shows up in some areas from a iron oxide over / under glaze and deep blue areas around the mouth from cobalt.



Adam Whatley shino tea bowl

Adam Whatley shino vessel



Quin shino footed vessel---Adam-Whatley

‘Quin’ –  Adam Whatley




Ruan 2 shino bowl - Adam Whatley

‘Ruan 2’ – Adam Whatley

Colors of dark tobacco and deep walnut show through the shino glaze that runs over a thick coating of iron oxide inside and out. This cup shows a lot of surface character from pitted clay created from burned out organic matter. Lots of inky oil spots and areas of gold and bronze on the lip.




moher1ceramic vase by Adam Whatley

Moher 1 ceramic vase – Adam Whatley




Shino-Bowl-Keadue by Adam Whatley

‘Keadue’ by Adam Whatley

Extra thick Iron rich clay with perlite added for texture and strength in the building process. The inside of this bowl has a layer of porcelain covered with a clear glaze. A bright shino glaze combined with green glass is applied to the outer edge of this bowl and runs on all sides with a vertical line pattern as a complement .



shino black footed vessel - Adam Whatley

 Adam Whatley




 Adam Whatley shino bowl with horizontal gosu lines

‘Omeath’ –  Adam Whatley

A matte shino exterior with deep orange where closest to the open flame. Assembled from layers of clay, the seams are joined using a “gosu” mixture of cobalt and iron oxide. These horizontal gosu lines wash down the exterior and bleed into the shino glaze. The inside is a glossy clear glaze over brushed on porcelain clay with marbling of two different stoneware clays underneath.




Shino-Cup-Bangorn by Adam-Whatley

‘Bangorn’ Shino Cup – Adam-Whatley

Dry white cracked shino glaze combined with turquoise glass on the lip make for a great surface on this smaller sized cup. Inside is a clear glaze showing the extremely textured surface from the burned out organic material. Bubbles in the glass and the glaze along with a lots of pitting and cracking .This cup has an exceptionally distressed surface and would make an great tea cup.





 ‘Pettigo’ Shino – Adam Whatley

This bowl has a raw exterior with each layer of stacked clay being joined with iron oxide and a shino glaze. The crisp, white, porcelain interior is covered with a shiny smooth clear glaze. and made from clay pulled from Texas soil and fired to cone 10.



Footed Shino-Cup-Brittas by Adam Whatley

‘Brittas’ Shino Cup – Adam Whatley

Exterior has a very textured shino surface with heavily crawling glaze. Dark areas of iron oxide and manganese. Inside is a white wood ash shino with creamy opal glass frit. Drips of exterior wash run under interior glaze.



Adam Whatley Shino-Cup-Mendelssohn--Exterior has a very textured shino surface with heavily crawling glaze. Dark areas of iron oxide and manganese.

‘Mendelssohn’ Shino Cup – Adam Whatley




tuam 2 shino vessel - Adam Whatley

‘Tuam’– Adam Whatley




Shino-Bowl-Tulrahan- Adam Whatley

‘Shino Bowl Tulrahan’ – Adam Whatley



twoup shino bowl - Adam Whatley

Adam Whatley





Choyo (朝陽 ‘Rising Sun’ 1969) by Arakawa Toyozo




Kato Tokuro—Akane Shino Chawan-(茜志野茶碗  ‘Crimson Shino Tea Bowl’ 1985)





NEXT POST  —  London international ceramics exhibition