Decorative and Design

‘Crazy Horse Bowl’ showcases Romule’s talent for surface decoration as an extension of form, easily slipping between two and three dimensional representation to make even this stout vessel appear to contain a wild sense of motion and fluidity. The figurative elements of the slip cast porcelain horse merge with an decorative overglaze applied to the walls of the bowl, a body of the horse delineated through an inventive warping of perspective and the shared physiology of clay and onglaze enamel.

Inspired by Inca gold sculptures and graffiti art, Mozer designed this table for the Americas Restaurant in Houston.

Wedgwood Crimson Jasper Dip Vase and Cover, England, c. 1920, upturned loop handles, applied white classical figures in relief within foliate borders, impressed mark, ht. 9 5/8 in. Cover restored. Vase with 1" rim hairline. Socle rim with 1" of continuous chipping.

A strange hybrid of functionality and annexed figurative form, 'Cup 1' seems a particularly unstable and mutant reduction of the human presence, with the simplicity and quirks that are informed by Wabisabi. Nishigaware fixates on his dual nationalism, being Japanese born and US based, as a vehicle for appropriating a fluid understanding of cultural boundaries. The cup’s classical figure and semi-mythological hybridity connects to a contemporary timeline and an access to flux-like hives of disparate information, the blurred potential as vessel or art object creating something between.

Lawrence creates remarkable forms through photo-silkscreens on thin slabs of porcelain, printing before assembling so the imagery acts as a foundational building block rather than an after-image. Here the ‘Cup’ is loosely interpreted, a roll of porcelain — seemingly stuffed into a vessel — becomes the carrier. A second form, ostensibly skull-like, seems barbed with a twisted wire and odd ceramic buttons. Shapes have formed organically in the moments of creation, the artist allowing the collaged skin to subconsciously inform them.

Artist Jenny Mendes feels out her subconscious through acts with clay, a two part process that first explores shape and proportional representation, then a figurative portrayal that provokes a capacity for character creation and amalgams of inner personality and developed relationship. Works are traditionally ceramic-based vessels with a totem-like charisma, and ‘Cup 1’ reduces this down dynamically, its form and construction more classically vase-like — ears as handles, two faces positioned as opposites — the figures carefully picked out and characterised in soft, balmy layers of Terra Sigillata applied over a black underglaze.

Overall very good condition with a tiny chip to end of tail. Takes a wind, but unsure of working order. Left eye tells the hours and right eye tells the minutes.