Stoneware, ceramic plate wheel-thrown in different combinations of dark and light stoneware. Abigail plays with a palette of dolomite and transparent glazes. All glazes are food safe.
Dimensions: W-31.5 cm x H-2.5 cm
Thinking about Marine Day drew me to the depths of ocean, beyond tides and above sky, lighting finally on the moon. It was as though I could reach the place below only by reaching above, as though one unknown expanse were mirror to the other.
We see her from down here, washed over with her seas, clouds, pools, her stillness reflected on the surface of the earth’s waters. Each year witnesses the shining of her thirteen faces, in puddles of light, in plummeting drops of darkness. She is constant, the one natural satellite of earth, held in place by gravity alone.
Marine life swells with the waves in the gloaming, cleaving apart and together in perpetual rebirth. She hangs still and orbits, at once live theatre and painting.
She sheds light on strangers, all the while sowing doubt. The Japanese Tasogaresays it: ‘dusk’, ‘twilight’, lit. ‘who is this?’, the hour when it is not yet dark yet difficult to see clearly the faces of companions.
Jewish tradition asks the proper time to recite Shema, morning and evening prayers. One Talmudic authority, Aherim, responds: ‘When we can see another person, who is merely an acquaintance, from a distance of 4 cubits and recognise him.’
In this ambiguous, gentle light, Rembrandt’s lover gingerly enters the bath, dimpled, generous, lit from within by the serene flame of Eros.
The moon paints us, draws us into her obscure illumination. With this clay, flesh of the world, I paint her in turn.
As all products are handmade sizes and colour may vary slightly.
London-based ceramic artist Abigail Schama came to pottery from painting. Abigail Schama’s hand-thrown, stoneware bowls tell stories through surface. Any bowl is basic and universal in its meaning. The process of building up and then turning the form creates their skin and character. Abigail relies on the processes of slipping and chattering; words which describe human contact. These pieces are about imprinting the imperfect, unexpected and unrepeatable marks of a human hand on the most primal and unchanging material.
'A glint of gold lustre can break up the clay’s earthy character while honouring the quirks in its skin and contours.'