- Museum number
Bowl, red earthenware, formed of four curved segments, with ground edges, the interior with blue-white painting in underglaze colour of lozenges in clouds, the exterior unglazed. The pitted effect in the red clay achieved by mixing the body with sawdust and wood shavings which burn out during firing leaving holes. The layered interior colouring achieved by brushing on yellow, then terracotta and pressing screwed up tissue onto the surface to give a random texture. The lozenge pattern created as a second stage by masking the surface with tissue, then constructing a grid by means of arcs struck from a point, using a compass beam, in two directions. The tissue is then cut through with a scalpel, peeled off and the blue and white paint applied. Further mottling of the surface is then done with screwed up tissue. Unmarked.
- Production date
Height: 20 centimetres
Length: 30.50 centimetres
Width: 26.50 centimetres
- Curator's comments
- For full discussion of Martin Smith's ceramics, see exhibition catalogue, 'Martin Smith, Balance and Space, Ceramics 1976-1996', Museum Boijmans van Beuningen, Rotterdam 1996 (with essay by Alison Britton).
In 1985, Smith abandoned his architectural works and turned to pieces made up of spherical segments. A full size plaster maquette was used to define the exact sections of the sphere; the coordinates were then plotted onto hemispheres produced in clay using the industrial process of 'jigger and jolly' (Rotterdam 1996, p. 75). Here the geometric patterning on the interior contrasts with the curved structure of the piece. Alison Britton desrcibes the dual effects succinctly: 'the surface depicts a space of a different order to that defined by the physical space of the object.' (Rotterdam 1996, p. 75).
The segments are fired twice, as in 2014,8024.628, firstly before the colour is applied and secondly to fix the glaze. Final assembly occurs only after the second firing. The four pieces are glued together and the vessel is propped in the kiln so that the segments stay in position, but they come out of the kiln as separate pieces and have to be glued together for the second time.
- Not on display
- Exhibition history
Rotterdam 1996: 'Martin Smith, Balance and Space, Ceramics 1976-1996', Museum Boijmans van Beuningen, p. 83
- Acquisition date
- Britain, Europe and Prehistory
- Registration number