Vivienne Foley
Vivienne Foley makes hand thrown, classical and abstract porcelain’s displaying clean lines and a multitude of shapes.
“The excitement and challenge for me is to produce flowing forms from a process fraught with technical difficulties. I try to factor in all the variables knowing that during drying, glazing and firing, the works will take on a life of their own, and that no two are ever the same.”
Green melon pod vessel – Vivienne Foley
Vivienne Foley limited edition print
Vivienne Foley sculptural porcelain art
Vivienne Foley, ‘Bird Form’, bronze
Vivienne Foley — ‘Black Butterfly Vase’ of porcelain
Limited Edition Prints—Vivienne Foley
Vivienne Foley – ‘Connected Form number 3′
Height 61 cm
Vivienne Foley — ‘Boat Neck vase’
Height-30cm
‘Bunch’ –Vivienne Foley
Vivienne Foley – black porcelain ‘Corrugated Vase’
Two asymmetrical neck corrugated black vases — Vivienne Foley
Limited Edition Prints—Vivienne Foley
Vivienne Foley
Limited Edition Prints—Vivienne Foley
Vivienne Foley — ‘Ridged Spindle Form’ ivory crackle glazed porcelain
32cm height
Vivienne Foley sculptural ceramics
‘Flame’ by Vivienne Foley
Height 52cm
Vivienne Foley ‘Tall Forked Vase’ -ivory crackle glaze porcelain
44 cm height
Ingrid Saag
“I never tire of portraying the female form, which I often use when I explore themes of romance, love, lust, and other human emotions and feelings through poetry and other written material. The poetry of Pablo Neruda has been a huge inspiration in this area. On the larger work the painting and poetry is sometimes carried to the inside of the pot. Another favourite subject has been the use of simple abstract patterns, such as checks or stripes, a perfect way to indulge in my exploration of and play with colour. This developed from my habit of testing every new material in different ways and combinations on test tiles which are like mini abstract paintings, which act as inspiration for future work.”
“Clear, vivid colours, an integral feature of my work, were probably instilled into my psyche during my childhood growing up in the tropics. Colour has a powerful therapeutic action, which can have a healing and rebalancing effect for both the artist and the viewer. Although my medium is ceramics, my work has drawn more from painting. On some of my more complex painted larger vases, I can use more than 40 different colours. Landscape and the natural world can also be a starting point for some of my designs.”
instagram @ingridsaag
Ingrid Saag – ‘Swing’
2012
Ingrid Saag was born and grew up in Georgetown, Guyana. She trained in illustration at art colleges in London and Brighton. This led to a busy career for some 20 years as a freelance illustrator in publishing, packaging and advertising. In 2003 she began working with ceramics.
Ingrid Saag — ‘Dora Maar’ vase
Ingrid Saag vase blond girl in bikini
‘Mandarin Duck Lady’ — Ingrid Saag
“Most of my work is at present made in moulds that I have designed, by casting with Limoges white earthenware casting slip. Some pieces are altered after removal from the mould. On some work, I paint with a combination of coloured slips, underglazes and glazes, using brushes, pens, pencils and chalks. A semi matt or glossy transparent glaze is sprayed on to finish. Other work may simply be decorated with brush on glazes.”
Ingrid Saag
Ingrid Saag – ‘Dora Maar’
Ingrid Saag nude woman vase
‘Mango Pickers’ – Ingrid Saag
Ingrid Saag — ‘The Three Graces’
Ingrid Saag — ‘Lindy Hop Party’ vase
Ingrid Saag — ‘Seated Nude’ ceramic bowl
Ingrid Saag — ‘Isabella’
Ingrid Saag
Ingrid Saag vase
Ingrid Saag — ‘Lady in Red’
Ingrid Saag – ‘Irises’
Ingrid Saag – ‘Salsa’
Ingrid Saag — ‘The Queen’
‘Two Nudes’ vase by Ingrid Saag
Sophie Cook
Sophie Cook graduated from Camberwell School of Arts in the late nineties with just the original bottle shape in a range of matt turquoises. Since then, a full spectrum of colours and finishes have been developed as well as the emergence of the teardrop and pod shapes. The basis of her technique is classical wheel throwing and turning. She works clay with engineering precision, joining thinly made sections to attain height. It is most unusual to find these construction methods used with porcelain because of it’s high shrinkage and lack of plasticity. Foley’s work is unique because she incorporates these techniques and yet retains the finest qualities of the material.
“My bottles, pods and teardrops are about colour and form. They work well individually and in groups. my ideal is for them to be seen as a 3-dimensional still life that, when viewed from different angles, create new relationships between the pieces.:
“Every piece is a challenge to make as porcelain is such a fluid medium on the wheel. I throw four pieces a day, which are left to dry for two days and are then carved to refine the shape. After drying for a week, they are bisque fired to 1050.c. The glaze is then sprayed on and they are fired to 1260.c. rarely, if ever, do all four pieces survive the carving and firing processes.”
Sophie Cook ceramic contemporary vases
Sophie Cook contemporary vases
‘Fifth Element’ dining with Sophie Cook vase display
Sophie Cook — vivid colors in lime and turquoise with matt glaze on contemporary vases
Long neck ceramic bottle cluster – Sophie Cook
Sophie Cook white bottle display — Madison Hotel
Sophie Cook squat purple teardrop vase
Sophie Cook
Collection of white porcelain vessels by Sophie Cook
Two yellow ceramic bottles – Sophie Cook
Sophie Cook porcelain teardrop bottles
Elegant ceramic bottles — Sophie Cook
Contemporary and vintage porcelain wares — Sophie Cook
Sophie Cook – porcelain bottles on the mantle
Sophie Cook
