Color - Vol. 35 No. 1, Winter 2006
Color in Ming (1368-1644) and Qing (1644-1911) Chinese imperial porcelain is a result of com­plex interactions among the requirements of ritual, the aspirations of taste, and the possibilities of technology.
Portugal. Glazed earthenware, epoxy resin, lacquer and paint. 34.25 x 29.5 x 18 in. 2005.
As soon as I pick up a brush and paint with some form of cobalt on a piece, I am putting it into the context of ceramic history, from China to Persia to Holland, Portugal, and Italy.
Creamer. Salt-fired porcelain, H. 3.5 in.
To develop depth of surface, emphasize where a pot might be touched, and highlight hidden or intimate places, I contrast strong shiny glazes against mottled neutrals, so that bright details reach out from a receding background.
Lament. Porcelain installation, each piece approx. 12 in.
Celadon is what drew me to ceramics. It is both subtle and deep, a color that defies easy description. It moves with you and seems to change slightly according to the light, the time of day, and where you stand.
Every potter's Christmas stocking should at some point contain a Coddington magnifier, for the same reason that bird-watchers use binoculars: until we see ceramic surfaces or migrating hawks through magnification, we can't imagine how much we're missing