On that Masterworks search for the contemporary in tableware

Slipware  was once the predominant  ‘country’ pottery of Europe. While the Industrial Revolution (witness the recent Olympic potted history) almost brought about its demise, of recent times there has been, particularly in France and Britain a massive upsurge in interest in this almost deceased mode of expression in tableware. (Except perhaps around Nelson where examples can still be seen in abundance).

There is a new book out on this contemporisation of slipware called just that “Slipware”, written by Victoria and Michael Eden and published by A&C Black (London) and Craftsman House (Australia and Uni Pennsylvania Press (USA). Well researched and illustrated it demonstrates the new move toward the revival of this lively and vigorous way of making and decorating tableware including many contemporary examples from a number of international makers.

Or search the Eden’s own website for some stunning examples of bringing a tradition into the contemporary. www.edenceramics.co.uk/new work.htm

While Michael Eden has, after his Masters degree at Royal College moved into  the avant-garde with designs that have placed him to the forefront of conceptual designers,  (with his Wedgewood Tureen, manufacture by Venini, scanning with smartphone barcode readers and unfired ceramic coatings) the Eden’s slipware  offers a heap of food for thought.

Or for something closer to the Industrial revolution try American Molly Hatch’s website for the hand-painted underglaze at mollyhatch.com

Or for altered and decorated terra-cotta at Poseybacopoulos.com and yet more majolica on terra-cotta try lindaarbuckle.com/image archive

Or. . .  some of the world’s most fabulous wood-fired earthenware try the site for Jean-Nicholas Gerard at atelier-jardin.com  Then into more familiar stoneware Elisa Helland Hansen of Norway  and her site is elisa-hh.no  or American, Robbie Heidinger’s salt-glazed ware at robbieheidingerceramics.com/gallery

That’s enough for some inspiration go searching . . . .

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