Hannah Blackall Smith Silver Pearl Mug 20
Maker: Hannah Blackall Smith
Regular price
£61.00
Handmade in Copenhagen
Dimensions: H – 9.5cm, W - 8cm
Materials: Stoneware
Method: Hand thrown stoneware, fired once to 975c and then smoke fired with local organic materials.
Description:
Hand thrown stoneware with satin matte grey glaze to the outside and a rust coloured matte inside.
This small collection of unique smoke fired vessels is an exploration of form, texture and process. Taking inspiration from stories of marine archaeology Blackall finds beauty in the images of permanently abandoned ancient pottery on the seabed, building up layers of patina and texture.
The pieces are hand thrown and textured in stoneware, the inspiration for the forms comes from ancient Greek and Roman pottery shapes. They are fired once in the electric kiln before being smoke fired for 48 hours in a pit firing with various organic materials to create clouds of colour and striking surface patterns. A love letter to the unpredictable danish summer, the pieces get their colour from locally gathered sea grasses and seaweed.
They can be used in the dishwasher if carefully loaded, though hand washing is recommended.
As all products are handmade, sizes and colour may vary slightly.
About the Artist:
Hannah Blackall-Smith is a, largely self taught, English potter now living and making in Copenhagen. Since moving to the city in 2017 she has assisted local ceramicist Tasja Pulawska and now Hannah runs her own studio Blacksmith Ceramics in Copenhagen.
Inspiration for a warmly rustic, yet minimal, aesthetic comes from a range of places; scandinavian design principles yet also historic pottery shapes from ancient civilisations and late 20th century studio pottery from the UK.
Hannah is completely wedded to the wheel above all other ceramic techniques and adds a fluted texture to many of her pieces. This is applied mid way through throwing when the clay is at its wettest stage and captures the momentum of the wheel in the gently twisted fluting.
Creating visible traces and irregularities of the hand making process in her work is a form of communication with the piece’s final owner. These pots have lived several lives before they are even used: on the wheel, in the kiln and (in the case of the smoke fired pieces) in the fire. Each early stage of the pot’s ‘life’ leaves an indelible mark on its surface that will be there in perpetuity.