Three artists walk a thin line between function and sculpture. Priscilla, Monica and Hide all create artwork that is intended to be used, but none of the pieces are clearly what they seem to be. The teapots are gestural, and the bowls are so translucent they invite the viewer to gaze instead of utilizing.
Priscilla Mouritzen, South African born, has resided in Denmark since 1979. She shows internationally, and also travels as a visiting artist in studios around the world. Her thinly pinched porcelain vessels are wood-fired, leaving an elegant smoky finish. When held up to the light, her work is illuminated and glows through the porcelain body. Small surface etchings resemble ostrich eggs with native patterns, which break light and cast shadows across the table.
Monica Rudquist is a Minnesota native who has worked in clay since she was twelve years old. Her functional pieces have strong throwing marks and lines that show the gesture of her hands and the fluidity of the clay. Each piece has been cut and reassembled, creating a tension between the soft black and white surfaces and the altered forms.
Hide Sadohara teaches ceramics at SUNY Fredonia New York. His artwork explores both highly functional vessels and figurative sculpture. His porcelain celadon functional work is influenced by his Japanese upbringing and his American education. The clay twists and shifts falling into shapes that appear as if they are frozen in motion.