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Care instructions: Water tight, dust lightly to clean
This full round moon, blackened underneath, bleeds oceanic blue, an illusory colour. Its depths descend from violets and browns to black, into a crusty yet smooth white that breaks over her curves and, in places, exposes the body. Blue is associated with cleanliness and untouchable majesty and yet ocean blue sits atop cavernous darkness, a terrifying and endless drop. Blue holds together the life swimming in all directions, but ocean’s blue is the remains of the day when the people are gone. The moon, reflected in the night sea, takes on this colour, sparkles to the crisp horizon.
These vessels were made with vigour, ruthlessness, care, and time. In them quiet sits alongside noise. Rims and shoulders reach out from openings, inviting exploration where other colours and currents underpin the surface. Touch them and your hands will tell you that they are like the hide of a bbeast. Robust, both rough and smooth and stretched to its limit the skins just about fit the body. Both seal and shield, the skin is inextricably bound to the character of the whole and it is evidence of multiple layers and processes. Together, the rhythm of these six pieces rises and falls as waves do. These are vessels which can hold and bump up against each other. A puff blows out of the mouth of one to inflate the next. Each swells and breaks to different degrees, with varying iterations of form and colour. A glacial current moves between them. Tectonics shifting like generations passing – a family orbiting in self generating rings.
About the Artist
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.
Abigail plays with a palette of dolomite and transparent glazes. Each piece undergoes a further firing to be lightly gilded with (24 carat) gold lustre, which highlight the shape of each form and create an intriguing contrast with the more humble tones and textures of her work.