Artists Skeff Thomas (New Jersey, USA) and Lis Ehrenreich (Denmark) employ distinctly different approaches but share common interest in exploring the artistic potential of the vessel form.
These two artists stand in marked contrast to one another: the gestural, almost eccentric, colorful works of Thomas versus the minimalistic, constrained pieces of Ehrenreich. Together, they provide beautiful examples of the potential of the vessel as art.
Along with designing and making functional work, I make a series of large-scale works that are explorations of form, volume and surface. In the exploration of non-functional decorative sculptural forms my primary design elements are negative space and texture informed by architecture and the definition of form in space. As a potter/ceramic artist, I utilize the arch in the construction of kilns. I love looking at and studying cathedrals, temples and large architectural structures that use the arch for beauty, nobility and stability. Architectural arches are a direct influence in the design of my forms that use that shape and structure to define positive and negative space with volume in a refined and embellished form. In the sense that architecture is both functional and decorative, with ornamentation that is beautiful and plentiful, these works are indebted to the wonderful history of the decorative arts, technology and natural sciences that came from Europe and Asia over the ages.
An exhibition about white, in general and white glaze in particular.
When the light-toned jar is fired, shades of white occur defined by the ashes of beech, oak, birch, straw, etc.
The form of the wheel-thrown jar, the nature of the clay, and the decoration of the wheel-thrown jar, begin as a flat geometric pattern, and moves towards the low relief decoration, and finally moves toward the casted jar, in which the relief is the essence of the jar: the relief defines the structure of the glaze.
These conditions are what develop a variety of white.
This series is an exploration which shows the possibilities of the glazes in the various forms of the jar, represented by the ”Albarello” (the pharmaceutical jar) representing many shapes: tall and low, thick and slim, very much in comparison to my casted forms.
Special thanks to Grosserer L.F.Foghts Foundation for supporting transportation expenses.