Monthly Archives: October 2016

Encounter with a mystical spider



1st century B.C. – A.D. 2nd century Peru - nose ornament - MET

 Peru – gold nose ornament – MET

1st century B.C. –2nd century A.D



Huntsman spider drops in


I arose one morning last autumn around 6am and as I sat down at my desk, I noticed high on the wall facing me, a large Huntsman spider. They are approximately the size of a clenched fist and they used to scare the bejessus out of me till I learnt they were non poisonous to humans. Huntsmen have the speed and agility to catch cockroaches and other insects., so I welcomed its presence. Around 7.30am when I opened the blinds to let in the morning sunshine it scattered sideways behind the abstract painting on the wall to my side, as they are nocturnal creatures. The next morning it was there again, this time lower on the wall in my direct line of sight and it hid behind the painting once again when I let the sun filter in.
This was a daily occurrence for 3 months during which time I learnt that they were regarded by the Druids, American Indians, Pre Columbian Central Americans and other ancient cultures as a source of creative inspiration (on a mystical level) and as the guardian of the ancient language and alphabets and that ‘those who weave magic with the written word probably have a spider totem’. Ted Andrews in “Animal Speak” mentions that ‘the Spider reminds us to awaken our own sensibilities to be more creative in life’


huntsman-spider friendly spider

Huntsman Spider on my wall


To the Osage American Indian tribe, spiders were a special symbol of patience and endurance. To the Blackfoot, they represented intelligence and skillfulness. The Ojibwe associated spider webs with their dream catchers, a type of traditional hand-woven Ojibwe craft meant to filter out bad dreams. Spiders were also highly regarded as providing the means to weave dreams and auspicious aspirations into reality. Maybe this is why to many Native Americans, it is still considered bad luck to kill a spider. It was considered good fortune to have a spider weave a web outside your window.
They called the female spiders ‘Grandmother’ because she kept and taught the mysteries of the past and how they would affect the future. The spider had the awareness to teach us how to use the written language with power and creativity, so that your words would weave a web around those who read them. (useful for a blogger) They say it is good to visualize a resplendent web that represents your deep past to bring order into the present. The intricate, fine detail on a spiderweb is truly a creative masterpiece and a sight to behold.

Associated with wisdom and divination, the spider serves as a channel of communication with the spirit world and, as such, its totem is also linked with leadership and rulers. Because the ground-dwelling tarantula  (earth spider) lives underground in spider silk-lined nests, it is thought to be closer to the realm of the dead who are buried in the earth. The spider’s ability to produce spider silk also places it in a special group of animals and insects that share skills with humans-in this case, the talent to spin or weave.
The highly creative web that the spider weaves has strands like the spokes of a wheel running in a straight line from the edge to a spiral in the middle. It is symbolic of an inner portal, more so because some have eight sectors, and are made by a spider who has eight legs and 8 eyes. This connects them to the ancient 8 sector Magic Square, long recognized by the ancient cultures of the Egyptians, Chinese, Druids, Mongolians and Peruvians to represent inner pathways and powers.
Spiders have a life span of only 3 years and tend to expire in late Autumn, so as to avoid another winter. This knowledge was useful when I came to my desk one cold morning and witnessed my spider friend draw up its legs into a symmetrical dying pose and calmly perform its final exit.



Italian-amica-absynth-photo red head girl in turquoise colour web

Model Amica, Absynth photography, Italy



amphora-art-nouveau-vase with gold nymphs in relief and a large spider web

Amphora vase with reliefs of golden nymphs and  spider web




Andrew Whitehead spider sculpture – ‘run Scotty run’





Double handle Amphora vase




Annemarie Heinrich – German/Argentine photographer

1930’s Buenos Aires




Riessner, Stellmacher,  Kessler porcelain and enamel spiderweb vase

Turn Teplitz, Bohemia, Austria, 1905



African ceramic spider bowl, Bamum peoples. Cameroon


African ceramic spider bowl, Bamum peoples. Cameroon

Early to mid 20th century

The spiders decorating the rim are associated with divination throughout the Grassfields region. They represent wisdom and are associated with the earth and the ancestors.



ziegler-schaffhausen-1920s German yellow bulbous vase with black spider motif

Ziegler Schaffhausen,

Switzerland -1920’s




Moorcroft vase with large black spider

Humler & Nolan




Exquisite Art Nouveau porcelain vase with spider motif





Tall Hopi ovoid jar with spider design by Burel Naha



Black glass art deco-spider-and-web-perfume-bottle with crystal stopper

Art Deco spider motif perfume bottle


Black Widow Spider hat by Kirahley Kreation on Etsy

Black Widow Spider hat by Kirahley Kreation on Etsy




Pale blue vase with flowers and gold lustre spider web – Carlton Ware





Fieldings Crown Devon British Art Deco jug



mens-spider-initiation-1999 possum clifford Australian indigenous painting

‘Men’s Spider Initiation’ –  Clifford Possum

Australia, 1999



maple-leaves-and-spider-web-period edo

Japanese Maple Leaves and Spider Web dish

(Traditional luck symbols)

Edo period


The outside spider web motif gate at Witches House in Beverly Hills.

The outside spider web motif gate at ‘Witches House’ in Beverly Hills.




Charles Catteau – 1904-06

Vase with relief decoration of a spider in its web.




Barbara Hepworth





David Macdonald

Ohio-Craft Museums exhibit ‘In Touch With The Spirit’




Carlton Ware jug




Art Nouveau Tri Spider Brooch – Georges Fouquet





Amphora vase titled ‘Sovereign of the Night’ ($18,000 sold).

Image courtesy Treadway Toomey.




goyin-silveira ceramic vessel

Goyin Silveira, Mata Ortiz





Gourd Dream Catcher  by Pamala Redhawk




Photo –  Leila Amat Ortega





Rainforest Shield Design – by Garra (Spider) Napolean Oui

Spiders of the venomous kind were totems of the traditional rainforest people of Far North Queensland. This totem is still used today by the Djabu





Vase olla with spider motif  – Goyin Silveira, Mata Ortiz




Nazca spider


 Vintage Czech Hand Made Perfume Bottle with Crown Topper. Love the Spider

 Vintage Czech Hand Made Perfume Bottle with Crown Topper.





Orient & Flume glass paper weight




Rouge Royale Carlton Ware ginger jar





Nippon Moriage Spider Jug





Rozenburg – Eggshell porcelain bud vase with spider in web decoration






Spider web veil on statue




Spider Cobweb Teapot by MissFiendishApparel on Etsy



red-spider-lily-iflowers kebana-display

Red Spider Lily ikebana




Flapper spider hat

BoringSidney  – Etsy





Spiderweb ring by Italian jeweller Staurino Fratelli. In Italy spiders mean good fortune and money.



pucci-spider-vase pucci-umbertide-ceramic-vase-40s-spider-vase-baldelli-rometti

‘Pucci’ spider vase, Italy 1952

Company “Ceramiche Pucci”, founded by Ing. Domenico Pucci in 1947 in Umbertide, near Perugia, was an offshoot of the Rometti factory



Liverpool street-parade-mechanized-spider

The giant spider ‘La Princesse’ coming out of hibernation by La Machine





Tarantulalong Arana Pollito mosaic by Isidora López




Web of Intrigue Egyptomania poster




spider web art-nouveau-gothique

Gothic Art Nouveau structure





Red Back Spider Mug – Tanya Bechara

Sydney, Australia


Spiderweb-steel Bench-by-Metal-Abuse

Spiderweb steel bench by Metal Abuse




Rhinestone spiders



Spider Web Fascinator/hat

Spider Web Fascinator



NEXT POST  —  Futuristic Utopian fashion innovations


Sculpture by the Sea – 20th anniversary



Geoffrey Bartlett’s ‘Embrace’ is made from copper, steel and stainless steel.

Sculpture by the Sea, Bondi 2016.


Bondi’s Sculpture by the Sea,  20 Oct – 6 Nov,  2016


Late Spring in the Southern Hemisphere brings warm weather to Sydney and its annual sculpture festival at Bondi Beach, now celebrating its 20th year. The picturesque coastline for 1.4 km between Bondi and Tamarama is transformed into the world’s largest annual free-to-the-public outdoor sculpture exhibition. More than 100 sculpture works by Australian and international artists are being showcased this year, including artist representation from Asia, Europe, Middle East, New Zealand, South America, UK and USA.

Sculpture by the Sea has never been curated to a theme and would continue to support the artist’s right to freedom inventing their own universes “inclusive of all modes of sculpture, demonstrating sculpture’s history and development”, founding director, David Handley said. Since its inaugural show in 1997, ‘Sculpture by the Sea’ has inspired 1168 artists to create more than 2000 sculptures.
Some sculptors tend to think of their creations as ‘breathing’, and I’m sure their sculptures would be responding to the vibrancy of this iconic location. The sculptural walk will be running from 20 October – 6 November. Also shown are images from Cottesloe ‘Sculpture by the Sea’ which runs in Perth in early March.




Yumin Jing’s ‘Travelling Bag’ 2016




Johannes Pannekoek with his winning work ‘Change Ahead’.

 Photo: Steven Siewert

Johannes missed the deadline to freight his work from Perth to Sydney so he loaded it onto a trailer and drove it 3297 km across Australia to Bondi. His effort was rewarded as Change Ahead, a curvaceous piece made of rusted corten steel, has been named winner of the $60,000 Aqualand Sculpture Prize at Sculpture by the Sea, 2016



‘Flying Over Venice’ – Li Wei,

Sculpture by the Sea, Cottesloe, Perth 2016. Photo Li Wei




‘Celestial rings I’ by Inge King

Sculpture by the Sea, Bondi 2016





Tony Davis, ‘Manscape’

Sculpture by the Sea, Cottesloe 2016. Photo Clyde Yee





Karen Macher Nesta, ‘Sea Sponges’,

Sculpture by the Sea, Cottesloe 2016. Photo Jessica Wyld




r-m-rongomboc_from the beginning to eternity_sxs cottessloe2016 photo_jessica-wyld

R.M.RonGomboc – ‘From The Beginning To Eternity’

Sculpture by the Sea, Cottesloe 2016  Photo – Jessica Wyld




20th anniversary sculpture by the sea Peter Lundberg, 'Open'

Peter Lundberg, ‘Open’

Sculpture by the Sea, Bondi, Sydney 2015. Photo Gareth Carr




Koichi Ishino, ‘Wind Blowing’,

Sculpture by the Sea, Bondi 2015. Photo Gareth Carr




Vince Vozzo, ‘Moon Buddha’

Sculpture by the Sea, Bondi 2013. Photo Clyde Yee






 ‘State of Square’ by Fatih Semiz




norton-flavel-dust-sculpture-by-the-sea-cottesloe-2016 large red fist holding dust

Norton Flavel, ‘Dust’ 

Sculpture by the Sea, Cottesloe 2016. Photo Clyde Yee




sculpture-by-the-sea-bondi Arissara Reed, 'Acoustic Chamber'

Arissara Reed, ‘Acoustic Chamber’

Sculpture by the Sea, Bondi 2015. Photo Clyde Yee




turtle sculpture-sculpture-by-the-sea-bondi-2011

‘Tortoise’ by  Mark Swartz, Reuben Solomon, Charmaine Tung

Sculpture by the Sea 2011



'Taking Leave' by Peter Tiley sculpture at the ocean

‘Taking Leave’ by Peter Tiley

Sculpture by the Sea, Bondi 2008




Ayad Alqaragholli, ‘Embrace’

Sculpture by the Sea, Cottesloe 2014. Photo Jarrad Seng





Ben Fasham, ‘bjf13′

Sculpture by the Sea, Bondi 2015. Photo Clyde Yee




benjamin-storch-undulation-sculpture-by-the-sea-cottesloe-2016 biorphemic metal sculpture

Benjamin Storch, ‘Undulation’

Sculpture by the Sea, Cottesloe 2016. PhotoClyde Yee




Byeong-Doo Moon, ‘Our Memory In Your Place’

Sculpture by the Sea, Bondi 2014 – Photo Clyde Yee




Ben Juniper, ‘Ghost Gum’

Sculpture by the Sea, Cottesloe 2013. Photo Jarrad Seng




Masayuki Sugiyama, ‘Eyewalk Rock’

Sculpture by the Sea, Bondi 2014. Photo Clyde Yee



Byung-Chul Ahn, ‘Life Reflection xx #1′

Sculpture by the Sea, Bondi 2013. Photo Clyde Yee





Margarita Sampson, ‘Voyagers I & II’ 

 Sculpture by the Sea, Bondi 2015. Photo Clyde Yee





Chris Bailey, ‘The Majestic’

Sculpture by the Sea, Cottesloe 2014. Photo Jessica Wyld





Dale Miles, ‘Parallel Thinking Space’

Sculpture by the Sea, Bondi 2015. Photo Clyde Yee




Deborah Redwood, ‘Noah’s Arc’

Sculpture by the Sea, Cottesloe 2016. Photo Clyde Yee



elyssa-sykes-smith-a-shared-weight-sculpture-by-the-sea-bondi-2013 Tow wooden figurative sculptures

Elyssa Sykes-Smith, ‘A shared weight’ wood block sculpture

Sculpture by the Sea, Bondi 2013. Photo Jarrad Seng




Ewen Coates, ‘Multiverse’,

Sculpture by the Sea, Bondi 2013. Photo William Patino





GhostNets Australia, ‘Ghost Net Crocodile’

Sculpture by the Sea, Cottesloe 2013. Photo Jarrad Seng





Hilde A. Danielson, ‘Upside Down Again’

Sculpture by the Sea, Cottesloe 2013. Photo Jarrad Seng




Johannes Pannekoek, ‘Convolution’

Sculpture by the Sea, Cottesloe 2012. Photo Clyde Yee





‘Dearest’ by Margarita Sampson

Peter Parks-AFP/Getty





Keizo Ushio, ‘Oushi Zokei Gate To The Beach’,

Sculpture by the Sea, Cottesloe 2016. Photo Jessica Wyld





Koichi Ogino, ‘Camel Country 14′

Sculpture by the Sea, Bondi 2014. Photo Ian Sanderson




koichi-ishino mountain-air-clyde-yee

‘Mountain Air – Circles’  – Koichi Ishino

Photo Clyde Yee





Lubomir Mikle, ‘p.o.p.’

Sculpture by the Sea, Bondi 2015. Photo Clyde Yee



lucy-humphrey-horizon-sculpture-by-the-sea-bondi-2013 large glass sphere on the seaside rocks

Lucy Humphrey, ‘Horizon’

Sculpture by the Sea, Bondi 2013. Photo Jarrad Seng



many-many- stephen-king-clyde-king

‘Many Many’ – Stephen King Clyde King





Petra Svoboda, ‘The commodification of imagination’,

Sculpture by the Sea, Bondi 2012. Photo Brett Winstone




‘Prelude to the Waves’ by Fatih Semiz… powder coated steel

Sculpture by the Sea 2009

Photo – Shyaman



r-m-rongomboc_cycle of life-longevity_sxsbondi2015_clyde yee photo

R.M.RonGomboc_’Cycle Of Life – Longevity’

Sculpture by the Sea, Bondi 2015. Photo Clyde Yee



sogana-by-michael-le-grand photo-shyaman

‘Sogana’ by Michael Le Grand

photo by Shyaman




Tim Macfarlane Reid, ‘One Door Opens’

Sculpture by the Sea, Cottesloe 2015. Photo Jessica Wyld




Tim Macfarlane Reid, ‘Sea Change’

Sculpture by the Sea, Cottesloe, Perth 2014. Photo Jessica Wyld





Yolande Rose, ‘Lithoid’

Sculpture by the Sea, Bondi 2015. Photo Clyde Yee






NEXT POST  — Encounter with a mystical spider


Contemporary clayartist concepts




Accretion vases by the Haas Brothers


Many horizons ago, I’m sure that the first time someone held a lump of clay, the feel of its malleable tactile mass would have tempted them into forming some biomorphic shape. Followed by the conclusion that it’s so much easier to make a bowl this way then sculpting it from rock or carving it from wood. When a child holds clay, their instinctive reaction is to begin shaping an object. It would have to be one of the easiest and accessible means of 3d creation that exists. The ancient Egyptian god Ptah held this bountiful substance in such high esteem that he decided to create a whole human race with it on a pottery wheel from an egg shaped form.


contemporary-clay-and-museum-culture-google-books-ancient-egyptian-god-ptah drawing-by-mella-shaw-after-e

Ptah throwing clay


Concept, design, form, colour, surface integration, materials, and techniques all become part of the challenge for creating ceramic art and even though it is one of the oldest art forms in existence, it is still evolving. Its utilitarian practicality has endured while more diverse decorative applications keep appearing.  The language of clay makes many amusing conversations and some intriguing new chapters of design ideas in the clayarts are presented here.


Haas Brothers




Accretion vase – Haas Brothers




Accretion sculpture –  Haas Brothers



accretion-vase-by-the-haas-brothers-gold and pastel pink vase

Accretion vase – Haas Brothers




accretion-vase-by-the-haas-brothers - turquoise colour

Turquoise accretion vase




accretion-vase-by-the-haas-brothers-contemporary ceramic vessel in white

Twin neck accretion vessel – Haas Brothers




haas_august_2016 accretion vessels

Accretion jungle of vessels – Haas Brothers





Long twin neck accretion vase – Haas Brothers




Lidded accretion vessels – Haas Brothers



accretion-vessels-by-the-haas-brothers-strong textured ceramic

Pastel white and lavender accretion vessels




Accretion vessel gathering – Haas Brothers



Hella Jongerius


These animal-filled porcelain bowls were meticulously crafted by hand and designed by Hella Jongerius for a commission by Nymphenburg, a Bavarian porcelain manufacture since the mid-18th century. The series was produced as a celebration of the animal collection found in their archives, and incorporates 3D creatures within the simple glazed bowls.


Hella Jongerius for Nymphenburg




Hella Jongerius for Nymphenburg





Ann Agee, ‘Blue Painting’, 2012,

Wall art – glazed porcelain, steel armature



indefinite_vases_studioeq black free form vase with pink triangle base

Indefinite Vases – Studio EQ




‘Lume’ – salmon pink candleholder with gold details by Alessandro Zambelli  




Sixties Danish ceramic sculpture



Atelier Vierkant



Atelier Vierkant – half clay pebble seating of the ‘K- Series’





Atelier Vierkant ‘aht 150′ series mixed clay planters




atelier-vierkant-kbo-series ceramic modules

Atelier Vierkant ‘KBO’ series



kbo-series - Atelier Vierkant contemporary ceramic floor seating

Atelier Vierkant ‘KBO’ series, ceramic seating




National Gallery Singapore Atelier Vierkant 'pebble' floor seating

 Atelier Vierkant ceramic ‘K Series’  pebble floor seating

National Gallery Singapore




A set of stackable bowls with different colours and patterns are by Matteo Cibic



barbara-nanning ceramic pumpkin with golden extensions

 Ceramic pumpkin with golden extensions – Barbara Nanning




Carole Feuerman hyper-realist sculptures



Back of a woman all sculpture – Carole Feuerman





Female bodyboard surfer wall sculpture – Carole Feuerman




carole-feuerman-hyperealist-sculptures setaed lady in a blue bikini with gold swimming cap in meditiation

Blue bikini meditation hyperrealist sculpture – Carole Feuerman




Scholten & Baijings


Dutch designers Scholten & Baijings tableware set based on the archives of hand-painted porcelain company Arita – 1616




Scholten and Baijings porcelain tableware




Scholten and Baijings porcelain tableware



Laura Carlin


700_lion-tiles-new-craftsmen laura-carlin

Lion ceramic tiles – Laura Carlin

The New Craftsmen




Leopard ceramic tiles – Laura Carlin

The New Craftsmen



Anders Ruhwald



Anders Ruhwald ‘Bowl for a timeless house’


Photo – R H Hensleigh & Tim Thayer




Anders Ruwhald – ‘Crystal Ball (the future)’

Photo – R H Hensleigh & Tim Thayer



 Afreaks exhibition at Design Miami, 2015 by Haas Brothers




Afreaks ceramic surreal creatures by Haas Brothers




Afreaks ceramic animals – Haas Brothers



Afreaks exhibition – Haas Brothers

Design Miami 2015




Afreaks ceramic surreal creatures by Haas Brothers





Afreaks ceramic creatures by Haas Brothers





Haas Brothers gold ceramic bench and floor lamps

R-company, New York




Shell house or Nautilus by Architect Javier Senosiain



Roger Arquer Studio



‘Touch Lamp Vase’ by Roger Arquer for Bosa 2

Touch is an hybrid between a light and a flower base. The flowers work as a switch for the light, when they are touched, the light goes on or off.




Funnel Vase is a ceramic flower-vessel with one opening on the side, as a funnel shape. The funnel helps to change the water without having to remove the flowers. The old water can be easily poured out through the funnel and replaced with fresh water, without a mess.




Matthew Plummer Fernandez


Everyday items such as detergent bottles and a watering can are 3D scanned using a digital camera and subjected to algorithms that distort, abstract and taint them into new primordial vessel forms. “The algorithms basically deform the shape by mathematically repositioning its set of coordinates,” Plummer Fernandez told Dezeen. “Different equations create different effects – the simplest are simple multiplications to stretch an object, while more advanced formulas can twist or smooth the object or go as far as adding new features such as spikes.” The designer sends the altered files to be 3D printed with colourless sand particles and tinted resin.
Matthew holds a BEng in Computer Aided Mechanical Engineering from Kings College London and an MA in Design Products from the Royal College of Art.



Digital Natives vessel by Matthew Plummer Fernandez




Digital Natives bowl by Matthew Plummer Fernandez




Digital Natives vase by Matthew Plummer Fernandez




Digital Natives jug by Matthew Plummer Fernandez






Multi faceted Digital Natives vase by Matthew Plummer Fernandez





Elena Salmistraro dog figurines referencing a merry-go-round, replacing horses with Molossian Mastiffs



 Eleonor Bostrom 


Eleonor Bostrom ceramic drinking cups with internal dog figures

Coffee cups with internal dog figurines – Eleonor Bostrom




Internal dog figurines cup – Eleonor Bostrom




Erosion Set –  Studio Floris Wubben, Nl


Studio Floris Wubben designed an installation inspired by the solar system with which unique textures can be created in sequence. Within this installation, a gas burner’s flame etches a texture onto an unbaked porcelain object. The porcelain reacts to the high temperature, causing various layers to burst from the object. By combining different glaze techniques with this etching technique, contrast arises in colour and texture.



Studio Floris Wubben flame textured bowl

Kiln fired by Cor Unum ceramics



Gas fired swivel flame and rotating base apparatus –  Studio Floris Wubben




Studio Floris Wubben flame textured bowl

Kiln fired by Cor Unum ceramics




Studio Floris Wubben flame textured bowl

Kiln fired by Cor Unum ceramics




Studio Floris Wubben flame textured tumblers

Kiln fired by Cor Unum ceramics




Studio Floris Wubben flame textured bowl

Kiln fired by Cor Unum ceramics



Studio Floris Wubben epoxy clay pressed vessels


During the manufacturing process the epoxy-clay is pressed through the extrusion profiles with a diversity of possible combinations.


Studio Floris Wubben




Studio Floris Wubben pressed vase with red tints





Floris Wubben press machine



Guillaume Delvigne


guillaume-delvigne Porcelain embroidery bowl for self decoration

Porcelain embroidery bowl – thread your own pattern – Guillaume Delvigne





Porcelain embroidery bowl – Guillaume Delvigne




Guillaume Delvigne’s DPI Lighting for Industreal- pendant lamps are available in black or white unglazed porcelain.




Icelandic designer Garðar Eyjólfsson has created a range of yellow ceramics by melting and moulding sulphur.


Carolyn Genders


“I work spontaneously, creating forms and surfaces that evoke the feeling I have when I am part of the landscape, striving to convey nuance of shape, balance and mass and creating mood and atmosphere. I’m interested in creating pieces that have harmony of form & surface. Landscape & seasonal change loosely interpreted is inspiration for my new series; noting atmosphere, mood, rhythm & texture . Coiling is rhythm attuned to this natural beat. Inspired also by paintings of British artists of 1930’s 40’s 50’s.”


carolyn-genders mid-century abstract style vessel

Carolyn Genders




carolyn-genders abstract polychrome decorated vase

Carolyn Genders



alupoaie-andrei-entitiy-2015 abstract ceramic sculptural form

‘Entity’ Alupoaie Andrei





‘Incense Burners’ – Ionna Vautrin





Jesse Small – ‘Triton Ghost 1’




Juliette Clovis


French artist Juliette Clovis produces hybrid works that merge nature, history, and myth with the female form, covering simple porcelain busts in wildlife, flora, and spikes.



Blue and white porcelain bust –  Juliette Clovis





Blue and white porcelain bust –  Juliette Clovis



Joanne Jaffe


bering-straits-viii-joanne-jaffe in green

‘Bering Straits VII’ – –  Joanne Jaffe




‘Jungle Speak’ — Joanne Jaffe




judit-vargac ontemprorary ceramic sculpture

Judit Vargac 




les-manning-ceramics vase

Les Manning




Leah Jackson


leah-jackson contemporary ceramics

Leah Jackson


leah-jackson ceramic vessels

Leah Jackson




max-lamb-black basalt-crockery-collection

Max Lamb basalt crockery collection




michelle-summers ceramic cup

Michelle Summers 





Pepa Reverter’s ‘Secret Love’ trinkets are a place to keep secrets or something that you love

Bosa trinket Collection






‘Sweet Souvenir’ by French designer Constance Guisset is for sending secret messages or hiding small objects

Bosa trinket Collection


Jessica Harrison



Jessica Harrison-tattooed figurines




Jessica Harrison-tattooed figurines





Cup from the Bosa Table Collection by Jaime Hayon

Bosa trinket Collection




white unicorn jonathan-adler-ceramics

 Jonathan Adler contemporary ceramics unicorn



larisa-churkina figurine sculpture of a man playing a singing cello

Larisa Churkina ceramic and paper mache sculpture






A modest ‘Venus of Willendorf ‘  in a bikini Fat Lady Coin Money Box by Madamepomm—Artfire





‘Bull Terrier Money Box’ –  Madamepomm Artfire





‘Dalmatian Mug’ – Madamepomm – Artfire



Claire Partington


Claire Partington ‘Hoops’ sculptures portray a whimsical concept that plays with perception. The avant-garde art pieces are delicate and demure, depicting monarch-resembling subjects that are draped in beautiful textiles and dressed in the most ornate of jewelled accessories.” I started making sprigged vessels inspired by the salt glazed “bartmann” vessels, but with the look of tin glazed earthenware from the 1600’s. This evolved into the fully figurative vessels I’m making at present, starting with the bottle shaped mantua dresses. The figures often have interchangeable head “stoppers” to reflect the transformation of the subject and to allow a sense of play with the object.”



Claire Partington ‘Hoops’ sculptures





Claire Partington ‘Hoops’ sculptures



suhama-tomoko eramic sculpture 2013

Suhama Tomoko



Summer architectural  sculpture project 2017, Abruzzo Italy


Founded in 2011, Farm Fonte Trocchi is located in Abruzzo in the mountains next to the Adriatic sea in Italy. In the spring/summer of 2017 they are hosting an earth architecture gathering to construct an inhabitable sculpture in clay that is finished with terra-cotta elements made in their wood fire kiln located on the farm. The main structure will be constructed using a mixture of clay and vegetal fibre (straw from cereals or hemp) They also create furniture with the same method

They are extending an invitation for interested participants and are offering free accommodation and meals prepared from local organic produce for a duration of 4 days included in the price of the workshop. Farm Source Trocchi now has 3 independent houses and 2 hectares of cereals, legumes and vegetables, with fruit trees, medicinal plants,hens and pastures in rotation with crops, to house and feed a variable number of people (5 – 15)



Dimora Energia Workshop

2 – 5 April 2017  – location: Fattoria Fonte Trocchi, Tufillo, organic farm in the South of Abruzzo/ Italy


A workshop for ceramists, architects, archeologists, bakers, housebuilders and anyone interested in getting to know how to construct the wood fired Roman oven, developed by Enrico Poggiali, for cooking ceramics, bread baking and heating the house all at the same time,
maximizing the thermic benefit of the combustion.

We will have the possibility to share experiences from different fields of knowledge, ranging from archeology to historical architecture, from natural history to the knowledge about natural materials and techniques such as the use of raw clay in architecture and the cooking of ceramics.

Lectures from Enrico Poggiali, Luigi Lisi, Bernhard Neulichedl

Number of participants: minimum 8 persons, maximum 15 persons –

Cost: 180 euro + membership of Dimora Energia

Organic food and accommodation in clayhouse, normal house or tent is for free for the duration of the workshop
and 10 euros a day for who wants to stay some days longer on the farm after the workshop

info about the workshop:  mail.: [email protected]  tel.: 338 830 7779
info about the farm:  mail.: [email protected]




Farm Fonte Trocchi.

Abruzzo, Italy



abruzzo-clay-innovation - Farm Fonte Trocchii Italian organic farm

Clay construction, Farm Fonte Trocchi

Abruzzo, Italy




Farm Fonte Trocchi, sculptural clay structure frame





Abruzz0, Farm Fonte Trocchi



Fattoria Fonte Trocchi



NEXT POST  —  Sculpture by the Sea – 20th anniversary


Andrea and John Gill – decorative ceramic art




Andrea Gill  – 2014


Andrea Gill believes that ceramics is the ideal media to combine surface color and three-dimensional form. The thrust of her work is more preoccupied with the decorative than functional, which liberates the scale of her works and scope of her designs. Detailed imagery and patterning is an ever present feature of her ceramics, which she successfully integrates into her original shapes. These tend to involve appendages of wing like handles (not dissimilar to hispano moresque alhambra vases) and vessels surrounded by larger vessels, supporting more utiisation of detail, and bringing forth a refreshing journey of discovery, wonder and a sense of evolving form. Her work is decorated, often employing hand-cut stencils, which generate stunning layers of color and glaze on clay vessels that allude to the history of ceramics, textiles, painting and ornament.

An extract from Andrea Gill’s artistic statement:

“I choose to make vases and bowls because those forms allow the most open interpretation of shape without losing the iconic identity of the object. The scale of the vases, from two to six feet, gives me room to explore color, shape and pattern. The bowls provide a more intimate space where I have been exploring narrative ideas, recently involving mythology. My devotion to surface patterning has also proven to be an addiction that satisfies my love of stylized image and my firmly positive response to the word ‘decorative’. In the motifs of my overlaid figure/ground surfaces, I suspect I am often exploring my subconscious. The sources for the motifs range from my garden to doodles to texts of historical ornament, such as Owen Jones’ Grammar of Ornament. There is the affirmation of historic precedence of the painted pot, and the possibilities of current clay and glaze technology to support my vision.”

Her husband John Gill displays a similar ceramic trajectory of a restless dynamic with lots of movement, but featuring more asymmetrical forms, highlighted by multi faceted surfaces of contrasting colours and combinations of expressive shapes. John Gill knew he wanted to be a ceramic artist when he was told you couldn’t make sculpture out of clay. Failing to grasp the rationale behind this assertion, it motivated him to pursue a path in ceramics to prove this was a fallacy. He hasn’t looked back since.


John Gill’s Artist Statement –

“In my work I try to utilize simple techniques. This allows for freedom of ideas and process. Shape, form, use and color in form and to question other possibilities. My work uses shape and form to inflate color. Working within the realm of function expands the potential. History of ceramics, painting and sculpture collide. Clay has a simple directness – it prints beautifully.”



Andrea Gill

BFA in painting from Rhode Island School of Design in 1971, and, after a serendipitous job working for a potter, went on to study ceramics at the Kansas City Art Institute. She is currently a professor of ceramic art at the New York State College of Ceramics at Alfred University in Alfred, New York. She has been a resident at the Archie Bray Foundation and Anderson Ranch and in October 2012 Andrea Gill worked in the Voulkos Visiting Artist Studio as a Visiting Artist Fellow.



andrea-gill-vase-and-bowl-2013 with turquoise highlights

Andrea Gill – vase and bowl set





Footed ceramic vessel with elaborate lid – Andrea Gill



andrea-gill-tall head vase

Sculptural head vase – Andrea Gill




andrea-gill-ceramic vase with patterned surface decoration

Vase with surface pattern decoration – Andrea Gill





andrea-gill-3-1 Cherry Blossoms on a Winter Day vase

‘Cherry Blossoms on a Winter Day’  – Andrea Gill





Andrea Gill

Harvey Meadows Gallery




andrea-gill-ceramic-sculpture vases with female face motifs

Andrea Gill





Vase bowl set – Andrea Gill





Female figurine vessel – Andrea Gill




andrea-gill-ceramic vessel with bottle insert

Andrea Gill


andrea-gill-iznik-vase in turquoise and pink and floral decoration

‘Iznik Vase’ with arabesque decoration – Andrea Gill



andrea-gill-ceramic vessel with relief face

Ceramic vessel with tapestry and fabric print textures – Andrea Gill




andrea-gill-meadows-gallery vase and bowl combo

Andrea Gill

Harvey Meadows Gallery




andrea-gill-meadows-gallery ceramic vessel encasing a vase with black and white geometric patterns

Ceramic vessel encasing a vase- Andrea Gill



Alfred-university-school-of-art-and-design-image-gallery-andrea-gill - bird motif vase

Andrea Gill

Alfred University School of Art and Design Image Gallery





Andrea Gill vases




Andrea Gill matching vessels





Andrea Gill

Low fire ceramic, Majolica glaze, engobes

34 inches height




‘Hidden Glance’ – Andrea Gill





Madonna series ‘Sweet’ – Andrea Gill

Low fire ceramic, Majolica glaze

28 x 4 x 9 inches  — 2010




mithila-basin-andrea-gill ceramic art

‘Mithila Basin’ – Andrea Gill




red-and-pink-flowers vessel - Andrea Gill

‘Red and Pink Flower Vessel’ – Andrea Gill



vessel-andrea-gill - vase with a raised relief face

Face sculpture vase – Andrea Gill



John Gill


John Gill is a Professor of Ceramic Art at the New York State College of Ceramics at Alfred University where he is currently Chair of the Division of Ceramic Art.. He has degrees from the Kansas City Art Institute (BFA, 1973) and The New York State College of Ceramics at Alfred University (MFA, 1975).





bottle-7-by-John Gill-on-artnet bottle-7-1986

‘Bottle #7’ – John Gill




John Gill lone-vase-stoneware

Stoneware ‘Lone Vase’ – John Gill



John Gill geometric poly-chrome bowl

Geometric pattern bowl – John Gill




John Gill ceramic-ewer

Ceramic Ewer – John Gill



John Gill ceramic platter with abstract motif in muerous colours

Ceramic platter – John Gill



John Gill ewer-1983-stoneware-12-x-13-x-9-5-in-photo-brian-oglesbee

Ewer – John Gill


Photo Brian Oglesbee



John Gill-ceramic sculptured platter

Ceramic platter – John Gill



John Gill ceramic-bottle- in muted earthy colour tones

Ceramic bottle – John Gill




John Gill teapot-2aeapot-2-2013-stoneware

Teapot – John Gill



ewer-3-john-gill abstract ceramic ewer

Abstract ceramic ‘Ewer 3′ – John Gill

Harvey Meadows Gallery





John Gill – large glazed stoneware teapot or pitcher




Sculptural ceramic vase – John Gill



john-gill-ceramic-ewer abstract form- red-turquoise, white and blue coloured glaze

Ceramic Ewer – John Gill






John Gill mug




Polychrome stoneware radish platter 2010- John Gill

16 x 22 x 5 inches

Photo Brian Oglesbee





John Teapot 2010




Abstract shaped vase – John Gill





Vase by John Gill





Wine Ewer with handle – John Gill

height 13 inches





Lidded abstract jar  John Gill

31 x 12 inches




sculptural-ewer-by-john-gill-on-artnet sculptural-ewer-1990

Sculptural ceramic ewer – John Gill




Andrea and John Gill teaching





NEXT POST  —  Contemporary clayartist concepts