Grayson White Ceramics: A Montclair Pottery Studio

This article serves as a comprehensive guide to collecting the Art Deco ceramic ware of Clarice Cliff, a trailblazing British ceramic artist whose designs have been highly sought after since the 1920s. The extraordinary life and pioneering work of Clarice Cliff are explored, illustrated with pieces from the André Aerne Collection, sold to benefit the Muskegon Museum of Art. Clarice Cliff's creations have garnered a significant following, with collectors such as Anna Wintour and Whoopi Goldberg, and individual pieces can range from $100 to $30,000. Clarice Cliff was born into a working-class family in 1899 in Tunstall, Staffordshire, a hub for pottery works. She began working in potteries at the young age of 13. Demonstrating ambition and a desire for career advancement, she moved to A.J. Wilkinson’s factory, which offered greater opportunities. At Wilkinson's, she diligently acquired various skills, including modeling figures and vases, gilding, maintaining pattern books, and hand-painting, collaborating with male designers to expand her knowledge. Colley Shorter, the head of the Wilkinson factory, recognized her talent and supported her development by sending her to the Royal College of Art in London for three months, followed by a trip to Paris to observe the latest trends. Upon her return, Shorter provided her with her own studio, where she developed the renowned “Bizarre” line of wares in 1927. She led a team of female workers, known as “the Bizarre Girls,” who hand-painted her designs onto iconic Art Deco forms. Cliff’s ascent was remarkable given the hierarchical and gender-segregated nature of factory work, where women were rarely designers or modellers. Her unique ability and drive allowed her to transcend these limitations. Each of her pieces bore the Clarice Cliff signature, making her a household name and one of the first women in the potteries to launch a line under her own name, a concept akin to modern personal branding. Her success was not only due to her talent for creating vibrant, crowd-pleasing patterns but also to Colley Shorter's adept marketing strategies. Shorter effectively utilized modern advertising techniques, including hiring celebrities to be seen purchasing Cliff's “Bizarre” ware and organizing painting demonstrations in prominent department stores to attract large audiences. Cliff’s continuous introduction of new and exciting designs maintained media interest, and her rags-to-riches story resonated with the public. She drew inspiration from various sources, including the Art Deco movement and avant-garde movements like Cubism and De Stijl. Her wares often featured modernist shapes and visible brushstrokes, a departure from conventional production norms, reflecting her pioneering artistic vision. Cliff's goal was to make interesting and colorful household items accessible to ordinary people, thereby introducing Cubist influences into everyday homes through her designs, such as tea and coffee sets, candlesticks, vases, and plates. Cliff was a prolific artist, producing hundreds of designs during the inter-war period, characterized by bright colors, patterns, and distinctive shapes, making her style instantly recognizable and enduringly appealing. High-profile collectors, such as Anna Wintour, demonstrate the timeless appeal of Cliff’s ceramics, which effortlessly complement minimalist interiors with vibrant pops of color. While many of Cliff’s pieces were originally functional household items, they are now recognized as significant examples of British Art Deco. For aspiring collectors, the advice is to collect pieces that resonate personally, while also understanding the patterns and shapes that define Clarice Cliff’s body of work. Although many pieces are in private collections, examples can be found in museums like the V&A in London and The Met in New York. The article also highlights opportunities for new collectors, particularly through upcoming online sales offering pieces at more accessible price points, with many items available for under $1,000, and bids starting at $100. While some of Cliff’s designs, particularly those with limited production runs, command higher prices, the market also offers more affordable options. The article emphasizes the importance of verifying authenticity, checking for damage, and looking for the authentic Clarice Cliff script signature on the base, ensuring the glaze is in good condition. Ultimately, collecting Clarice Cliff ceramics is presented as an enjoyable and relatively straightforward endeavor, yielding beautifully decorative pieces to live with. #ClariceCliff #ArtDeco #Ceramics #CollectingGuide #BritishArt #DecorativeArts #Pottery #HomeDecor #DesignHistory

The Vancouver office of accounting software company Tipalti features a unique design collaboration between M Moser Associates and TAV Ceramics, resulting in abacus-inspired ceramic installations. Artist Tanvi Arora of TAV Ceramics emphasizes the durability of clay, stating it is capable of holding its own in large-scale architectural installations. This project involved the creation of tactile ceramic installations throughout Tipalti’s 24,000-square-foot, two-level office. The design concept was rooted in an abacus theme, selected by M Moser Associates to align with Tipalti's financial mission. This choice aimed to integrate the company's core business into its physical environment through artistic expression. The project involved a significant amount of clay, with 2,000 pounds used to create 300 slip-cast clay beads. A team of 21 designers, contractors, and engineers, led by M Moser senior associates Vicky Bautista and Alex Watkins, executed the installation over three days. Two primary installations were realized: an all-white partition and a blue ceiling-scape. For the blue ceiling-scape, 160 ceramic beads were hand-painted by Arora using a matte stain from Mason Color, while an additional 140 beads were left unfinished for the partition. These beads, approximately one foot tall, were slip-cast using molds in Arora's Vancouver studio. Before mass production, Arora conducted extensive testing of various pigments to find the precise shade of blue that matched Tipalti’s corporate branding. During the installation process, the beads for the partition were strung onto floor-to-ceiling metal rods, secured with rubber gaskets to ensure stability and proper alignment. The 160 blue pieces were suspended on white powder-coated metal rods above the communal kitchen and reception areas, drawing attention to these key social spaces within the office. Some of the 140 unstained ceramics in the partition extended the entire 13-foot height of the lower floor, creating a visually striking element. The project highlights the integration of bespoke craftsmanship into contemporary office design, offering both aesthetic appeal and a conceptual link to the company’s identity. #OfficeDesign #CeramicArt #InteriorInstallation #MoserAssociates #TAVCeramics #VancouverDesign #ArchitecturalCeramics #WorkplaceDesign #CustomArt

The article traces the extensive global journey of blue-and-white ceramics, a decorative tradition that originated in southern China and evolved into a classic throughout the world. The genesis of these iconic wares began with the discovery of a chemical compatibility between white porcelain, created from locally sourced kaolin, and cobalt oxide, the only pigment capable of withstanding the high firing temperatures required for porcelain. This technological breakthrough allowed for the creation of durable, beautifully decorated ceramics. From its origins, the exotic blue-and-white porcelain made a significant "debut" in 16th and 17th-century Europe, where its translucent surface and intricate hand-brushed cobalt decorations captivated audiences. This marked the beginning of a grand, global expansion of the art form. Artisans across various continents subsequently adopted and adapted this technique, leading to a diverse yet unified tradition of blue-and-white ceramics. The narrative specifically highlights the journey of these ceramics, starting with their Eastern origins. Chinese artisans were pioneers in developing the unique composition of kaolin-based porcelain combined with cobalt oxide. This particular combination resulted in wares that were not only aesthetically pleasing but also remarkably durable, making them highly sought after. The intricate designs often depicted cultural motifs, landscapes, and narratives, reflecting the rich artistic heritage of the East. As trade routes expanded, these ceramics made their way to the Western world, where they were met with immense admiration and quickly became a symbol of luxury and sophistication. European manufacturers attempted to replicate the Chinese porcelain, leading to the development of various local styles and techniques, such as Delftware in the Netherlands and eventually the development of soft-paste porcelain in Italy, exemplified by Medici porcelain. While these Western interpretations maintained the core blue-and-white aesthetic, they often incorporated their own cultural symbols and decorative patterns, distinguishing them from their Eastern predecessors. The article emphasizes how this decorative tradition transcended geographical and cultural boundaries, becoming a universal language of design. The enduring appeal of blue-and-white ceramics lies in their timeless color palette, intricate craftsmanship, and the rich history embedded in each piece. Whether in the form of Ming Dynasty jars or Italian Medici ewers, these ceramics continue to be cherished for their historical significance and their ability to add elegance and character to contemporary settings. The enduring legacy of blue-and-white ceramics is a testament to the innovation of ancient artisans and the global exchange of artistic traditions. #BlueAndWhiteCeramics #PorcelainHistory #DecorativeArts #GlobalTradition #ChinesePorcelain #EuropeanCeramics #HomeDecor #InteriorDesign #CeramicArt

Brooklyn-based ceramicist Devin Wilde, whose work is characterized by geometric forms and influences from classicism, Art Deco, and postmodernism, has rapidly gained recognition since establishing his practice in 2023. Wilde's journey into ceramics was preceded by studies in architecture at Stanford University, followed by roles in digital and user experience design, and woodworking. This diverse background informs his sculptural approach, which he describes as a deeply personal and humanistic process, embracing the inherent fallibility of clay. He states that working with clay helps him appreciate the beauty in imperfection, contributing to his personal growth. His debut collection features vessels and side tables that subtly incorporate structural principles from his architectural and design past. Wilde's creations draw on a rich tapestry of artistic and design movements, imbuing his pieces with a sense of timelessness. This unique aesthetic has attracted significant attention, leading to partnerships with prominent retailers such as Lawson-Fenning and Spartan Shop, and commissions from architects and designers for various projects. Wilde’s artistic method involves the compelling and often delicate arrangement of geometric shapes, serving both ornamental and functional purposes. Many of his vessels, for instance, showcase expansive cylindrical or semicircular containers precariously balanced on small circular discs or coiled feet. These feet are the starting points for elaborate ribs that ascend the sides of the pieces, forming a decorative and structural scaffold. The high relief of these ribs is intentionally designed to interact with light, creating dynamic patterns of light and shadow that enhance the dynamism of each piece. The patterns evident in Wilde’s works echo the rhythmic repetitions found in classical architecture. However, the exaggerated proportions in his designs simultaneously nod to postmodernism, a significant source of inspiration for his visual language. Wilde finds postmodernism's 'cheeky' nature appealing, appreciating its ability to honor classical forms while playfully departing from their strictures. In specific pieces, such as ‘Vessel No. I’ and ‘Vessel No. XI’, his aesthetic transcends postmodern exaggeration, moving towards the serene, almost poetic simplicity reminiscent of sculptures by Constantin Brâncuşi and Isamu Noguchi. He admires the 'alive' quality and biomorphism inherent in their work. Growing up in Brooklyn’s Park Slope neighborhood, Wilde is now developing his second collection, which takes inspiration from the architectural details of Brooklyn brownstones. He captures the unique patterns and elements of these townhouses—such as sawtooth-patterned architraves or crenellated cornices—through photography, focusing on how sunlight interacts with their façades and wrought-iron features. His aim is to blend these local architectural motifs with an even more maximalist Art Deco sensibility. He sees Art Deco as possessing a modern yet detail-rich quality that is both ancient and futuristic. Wilde’s studio, located in Red Hook, Brooklyn, is where he hand-builds his pieces using clay enriched with 'grog,' a granular material that provides structural integrity and a rustic texture. He works with glazes rich in oxides, which achieve an aged, metallic appearance, evoking a sense of antiquity. The studio, described as an extension of his personality and childhood, is a vibrant space where natural light plays a crucial role in his sculpting process, guiding his work as he rarely uses artificial lights during the day. The studio also serves as a hub for stylists and interior designers, fostering a collaborative and social environment. #CeramicArt #DevinWilde #GeometricDesign #ArchitecturalInfluence #Postmodernism #ArtDeco #BrooklynArt #StudioPractice #HandmadeCeramics

This article details the origin story of the 'Vaso Bianco' (White Vase) by Michele De Lucchi, which became the foundational product for his company, Produzione Privata. The narrative begins with De Lucchi's strong interest in ceramics, cultivated during his involvement with the Memphis Group in the 1980s, a movement renowned for its radical, postmodernist design approach. After the dissolution of the Memphis Group, a period that left De Lucchi creatively unmoored despite ongoing corporate work, he sought an outlet for unconstrained experimentation. This led him to design the 'Vaso Bianco' around 1990, a product born from a personal passion for ceramics rather than commercial demands. This vase marked a significant departure from Memphis aesthetics, which typically featured provocative shapes, bright colors, and repeating patterns. In stark contrast, the 'Vaso Bianco' is entirely white, composed solely of curves, and reflects a focus on shape, material, and specificity, as described by De Lucchi himself. This shift was intentional, moving away from the mass appeal that had, ironically, led to the Memphis Group's closure due to a perceived lack of continued experimentation. Produzione Privata, meaning 'Private Production,' was established to repudiate commercial success and large-scale manufacturing, allowing De Lucchi to embrace an artisan's role. This enabled a continuous process of creative exploration without commercial limitations. The article highlights De Lucchi's deep connection to the material, emphasizing that the white of the vase is not merely a color but a specific and magnificent material that varies from clay to clay and baking to baking. The founding philosophy of Produzione Privata—'Cultivating experimentation and encouraging craftsmanship'—is directly rooted in the creation of the 'Vaso Bianco.' The article also elaborates on the meticulous craftsmanship involved in producing the 'Vaso Bianco.' It describes the multi-stage process, starting with the creation of a 'mother shape' through lathing, which serves as a prototype based on De Lucchi's designs. This 'mother shape' is then used to create a plaster mold into which semi-liquid clay is poured. After drying and careful removal from the mold, imperfections are meticulously scraped away by hand. The vase undergoes a first high-temperature baking, turning it into terracotta, followed by glazing and a second, even hotter firing to achieve its characteristic glassy white finish. The story continues with the introduction of the 'Vaso Nero' (Black Vase) 14 years later, in 2004. De Lucchi recognized the inherent duality, akin to yin and yang, that necessitated a dark counterpart to the white. The article explores the intriguing interplay of black and white, noting that while black is scientifically the absence of light, a glossy black vase paradoxically holds a bright light and reflects the environment, whereas white, representing all visible light, reflects the colors around it. The 'Vaso Nero' is presented as a valuable companion to its 'twin brother,' drawing a parallel to Michele De Lucchi's own identical twin brother, Ottorino De Lucchi. Ottorino, also an artist, is featured for his realistic painting of the 'Vaso Bianco' that appears black due to artistic interpretation. Michele De Lucchi's quote further emphasizes the unique elegance and characteristic shades of both the white and glossy black ceramics. Finally, the article showcases various illustrations of both the 'Vaso Bianco' and 'Vaso Nero' in different settings, emphasizing their ability to enhance any environment, either as standalone pieces or adorned with flowers and leaves, highlighting their aesthetic versatility and timeless appeal. #MicheleDeLucchi #ProduzionePrivata #VasoBianco #VasoNero #CeramicDesign #MemphisGroup #PostmodernDesign #ArtisanCraftsmanship #DesignHistory

Rebecca Atwood, known for her dreamy designs, hand-sketched patterns, and muted watercolor motifs, has launched a new collaboration with Pottery Barn. This partnership makes her signature aesthetic more accessible, moving her designs from high-end boutiques to a broader market at a more affordable price point. Atwood's work is characterized by its calming influence, offering a contrast to color-saturated maximalism, and aligning with the current trend of creating zen-like home environments. The collection, which launched today, features a range of home decor items, including framed artwork, quilted duvets, removable wallpaper, and table linens, with prices starting from $24.50. The collaboration addresses a significant challenge for smaller brands like Atwood's, allowing them to explore product categories that would typically be cost-prohibitive. This accessibility means consumers can incorporate Atwood's distinctive painterly prints into various parts of their homes without a substantial financial investment. The collection includes items such as rainbow-striped dining room runners and ombré shower curtains, designed to integrate seamlessly with existing decor while still adding a special, curated touch. The subtlety of the prints ensures they can blend with different styles, offering a versatile approach to home decoration. This partnership highlights a growing trend of collaborations between established retailers and independent designers, bridging the gap between bespoke artistry and mass-market availability. It enables designers to reach a wider audience and provides consumers with unique, design-forward products at a fraction of the cost typically associated with designer goods. The collection allows for easy incorporation of designer aesthetics into everyday living spaces, transforming ordinary areas into more personalized and stylish environments. The range of products caters to various needs, from statement pieces like framed prints to functional items like pillow covers and napkins, all imbued with Atwood's characteristic artistic flair. #PotteryBarn #RebeccaAtwood #TextileDesigner #HomeDecor #DesignCollaboration #AffordableDesign #WatercolorMotifs #InteriorDesign #ProductLaunch

This article explores the connection between individual personality traits and preferences for various ceramic styles, likening this classification to astrological signs. It delves into seven distinct pottery personalities, each associated with specific ceramic artists or brands and characteristic lifestyle choices. The first personality, described as "calm, cool, and collected," gravitates towards Bombabird ceramics. Individuals fitting this profile are depicted as reserved yet perceptive, valuing organic materials, quiet leisure, and engaging in hobbies like plant propagation. Their ideal retreat involves a secluded cabin, good books, and intricate puzzles, reflecting a desire for tranquility and thoughtful engagement. The "nature lover" personality is identified by an appreciation for Jonathan Yamakami's work. These individuals are characterized by a deep connection to the natural world, often recalling childhood explorations of tide pools. They enjoy outdoor activities like evening walks, prefer savory breakfasts, and show an interest in art forms like Ikebana, suggesting an aesthetic rooted in organic forms and natural beauty. For those who embody the "rebel with a cause," LBP Clay's creations resonate most. This personality type is portrayed as independent and unconventional, marching to their own beat. They are confident in their choices, possess a unique style, and engage in diverse activities ranging from helping a grandmother write her memoir to having synesthesia, all while maintaining a nonchalant attitude about their distinctiveness. The "young at heart" personality finds joy in Whitney Simpkins’s Personal Best Ceramics, which feature bold stripes, iridescent glazes, and pastel hues. These individuals are defined by their playful spirit, love for themed celebrations, and an affinity for vibrant, expressive aesthetics. They are depicted as enthusiastic and joy-seeking, embracing a lively and colorful approach to life. The "It Girl" personality is associated with Analuisa Corrigan’s ceramics and sculptures. This group comprises natural showstoppers who effortlessly excel in various domains, from cooking to mastering multiple languages. They possess an innate charisma, a flawless appearance, and a sophisticated lifestyle, suggesting a preference for ceramics that exude confidence and artistic flair. "Daydream believers" are drawn to Sam Kelly’s creations, often characterized by celestial or whimsical themes. This personality type is described as spiritual, compassionate, and open-minded, with an interest in alternative lifestyles, natural remedies, and existential inquiries. Their artistic preferences reflect a desire for pieces that inspire wonder and reflect a gentle, caring nature. Finally, the "craver of color" personality is perfectly matched with Raawii, a Danish brand known for its vibrant designs. These individuals are vibrant, fierce, and spirited, embracing bold aesthetics and an energetic lifestyle. They are described as design-conscious peacocks who appreciate strong colors, vintage styles, and lively social engagements, embodying a joyful and expressive approach to life and decor. #CeramicArt #PotteryPersonalities #HomeDecor #InteriorDesign #ArtisticExpression #LifestyleChoices #Craftsmanship

Wartski, a venerable dealer of antique Russian artwork, particularly those by Carl Fabergé, and jeweler to the British royal family since 1865, has opened a new London boutique. The design for this new space was undertaken by architecture studio Waldo Works, known for its work with clients such as Selfridges and Smythson. The central concept guiding the design was the golden ratio, a time-honored mathematical principle. This design approach reflects Wartski's long-standing history and its association with tradition and royalty, including crafting wedding rings for Camilla, Duchess of Cornwall, and Catherine, Duchess of Cambridge. The 2,700-square-foot boutique incorporates elements that subtly reference Wartski’s origins in North Wales. The entrance to the sales gallery is flanked by upper walls of ribbed concrete, intentionally faceted and flecked with slate chips sourced from Welsh quarries. This detail serves as a direct homage to the firm's historical roots. Above, the ceiling is coffered, featuring a classical geometry that aligns with the golden ratio theme, contributing to an overall sense of order and elegance. Below these architectural features, expansive display cases are designed to slide open electronically, combining modern functionality with traditional aesthetics. Throughout the boutique, a consistent use of materials and color palette reinforces the brand's heritage and the design's underlying principles. The flooring is covered with woven wool carpeting, specifically chosen in a Welsh green color, further emphasizing the connection to North Wales. The meticulous selection of materials and their arrangement within the space are not just aesthetic choices but also serve to enhance the presentation of Wartski’s high-value items, such as antique Russian artwork and jewelry, including pieces from Carl Fabergé. Key design elements within the boutique include the stainless steel trims that complement the ribbed concrete walls, adding a touch of contemporary elegance while maintaining the classical structure. The front sales gallery is designed to be both inviting and secure, creating an appropriate setting for the display of rare and valuable artifacts. The private sales room features a portrait of Queen Alexandra, a visual cue that underscores six generations of British royal patronage, reinforcing the firm's esteemed client base and historical significance. The project by Waldo Works for Wartski's new London boutique demonstrates a blend of historical reverence and sophisticated design, where every detail, from the material choices to the spatial arrangement, contributes to an environment that celebrates the firm's legacy and its dedication to exquisite craftsmanship. The application of the golden ratio provides a harmonious framework, ensuring that the boutique is not only a retail space but also a reflection of Wartski’s enduring prestige and connection to its origins. #Wartski #WaldoWorks #LondonBoutique #GoldenRatio #InteriorDesign #RetailDesign #JewelryBoutique #WelshHeritage #LuxuryRetail

Entler Studio, initially known for its lighting products, has expanded its ceramic offerings to include planters and end tables, applying its distinctive sculptural aesthetic to new home furnishing categories. The new collection features Ceramic Planters, characterized by their three-legged, round-bodied design, and Beginning End Tables, which echo the brand's signature bulbous forms. These new pieces were developed from founder Jonathan Entler's vision to create a fully branded room environment. The studio's exploration into planters and tables posed unique challenges due to the inherent complexities of slipcast ceramic as a material. However, Entler Studio emphasizes the sustainable aspect of ceramic production, noting that greenware and bisqueware can be endlessly recycled. The Ceramic Planters are available in various finishes, including a satin matte that accentuates the soft shadows and curves of the design, and a high-shine, gummy jewel-like finish achieved through applying up to 15 coats of glaze. This meticulous glazing process highlights the studio's commitment to a high level of finish and visual appeal. The planters are designed to hold plants, serving both a functional and decorative purpose within interior spaces. The accompanying Beginning End Tables come in two heights, providing versatility for different uses and arrangements, while maintaining a cohesive visual language with the planters through their glossy, mirror-topped surfaces and solid, sculptural forms. The design of the high-top table is a minimal extrusion of the side table, ensuring consistency across the collection and simplifying production processes. Jonathan Entler also prioritizes sustainability in the production and packaging of these new items. The studio has made significant strides in minimizing waste by reducing inorganic materials by 80%, substituting traditional plastic and foam packaging with more environmentally friendly wood and recycled paper. This initiative is particularly impactful for ceramic products, which are typically challenging to ship and require substantial packaging, thereby reducing pollution and enhancing environmental safety. Entler Studio, founded in Los Angeles in 2015, began with the objective of creating a format of cast ceramic that could be assembled into larger lighting fixtures. Following extensive experimentation, the studio successfully launched its initial lighting collection, which quickly gained popularity. The brand now offers endlessly customizable pieces in a wide array of 32 colors, signifying its growth and adaptability within the design market. The expansion into planters and tables represents a natural progression for the studio, leveraging its expertise in ceramic craftsmanship and distinctive design philosophy to enrich the broader home furnishings landscape. #Ceramic #CeramicPlanter #HomeFurnishings #IndoorPlanter #JonathanEntler #Planters #SideTable #Sustainability #TableDesign

Eve George, a glass blower and designer, chronicles her transformative residency in New York City, which profoundly influenced her artistic direction and the creation of her new glass collection, "Brume" (Mist). Co-founder of Atelier George in Burgundy's Côte d'Or, George typically works from a rural environment, producing collections every two years that reflect her surroundings. Her previous collection, "Cime" (Peak), was rooted in her rural setting and partly developed during the COVID lockdown. Her New York residency, from February to April 2023, was designed to provide a contrasting urban experience to inform "Brume." George describes her artistic process as a "choreographed sequence" akin to dancing with molten glass, an untamable material at 1100˚C that demands anticipation and memorization of gestures. The intense, productive atmosphere of New York served as a catalyst for her work ethic, encouraging her to seize opportunities and embrace a less contained way of life. This residency offered her a unique opportunity for exploration and artistic quest without immediate economic constraints, a freedom that often conflicted with the Americanized aspects of her life in France. During her stay, George navigated between different neighborhoods, experiencing the city through various encounters. A pivotal moment was attending Eva D’Oumbia’s "Autophagies" performance, which, combined with a communal meal, highlighted the profound symbolism of eating. This inspired her to delve into New York's "Foodie" culture, finding connections between culinary experiences and her artistic vision. She observed the cultural melting pot in places like Industry City, with its Japanese market and diverse eateries, noting how various cultures were combined and appropriated to create new culinary experiences, much like changing channels or swiping online content. An essential part of her residency involved an immersion at the Corning Museum of Glass upstate. This world-renowned institution, with its extensive historical and contemporary glass collections, workshops, and research facilities, allowed George to prototype her initial sketches with the help of expert glass blowers. She also researched the history of decorative table art, the ritual of meals, and the art of hosting, discovering 18th-century Italian engravings depicting tables as miniature gardens and early blown glass "snuff bottles" from the Far East. These historical findings and the concept of ritualistic tasting, inspired by a tea ceremony with a friend, led her to develop "scenting vials"—miniature bottles designed to hold aromas for a pre-tasting ritual. Returning to New York, George envisioned the city's layout as a vast banquet, with city blocks as placemats and skyscrapers as central decorations. She collaborated with Lucien Zayan, founder of The Invisible Dog Art Center, on a garlic-themed dinner, where her smelling vials were used to introduce a floral and woody garlic decoction, sparking memories and anecdotes among guests. Later, she met with Michael Anthony, chef at Gramercy Tavern, observing the restaurant's fluid hospitality and diverse dining areas. This experience, from the casual bar to the more formal dining room, underscored the American "savoir vivre"—a blend of sincere hospitality and innovation. The residency concluded with George returning to France, carrying glass samples imitating sea foam and water reflections, prototypes of tableware, and new ideas for her "glass city." She planned to integrate her new line of iridescent shot glasses into her table settings, reflecting her evolving artistic journey and the rich experiences gathered from Burgundy to Brooklyn. #GlassBlowing #ArtResidency #NewYorkCity #AtelierGeorge #CorningMuseumOfGlass #CulinaryCulture #DesignProcess #CulturalExchange #TablewareDesign

Ceramic artist Peter Lane's work is explored through a monograph, highlighting his distinctive approach to large-scale architectural installations and his unique position within contemporary ceramics. Lane's process typically begins on the studio floor, where he and his team lay a thick clay slab. This slab is then meticulously sculpted, marked into a grid, and cut into modular units. Each component undergoes separate glazing and firing, often featuring metallic leaf details in white gold, yellow gold, or palladium. The completed units are then installed on walls, with each composition conceived as site-specific, resulting in monumental pieces that blend art, craft, engineering, and architecture. Lane's prominence in contemporary ceramics stems from the sheer scale of his operations, exemplified by his 10,000-square-foot Brooklyn studio, which houses New York City's largest kiln capacity. His interdisciplinary work transcends traditional boundaries, integrating elements of sculpture, painting, architecture, and interior design. Initially a painter focused on materiality, Lane discovered ceramics through a serendipitous encounter with mid-century modern pottery. This led him to Greenwich House Pottery, an Arts and Crafts institution, where he quickly embraced clay. His early creations included functional lamp bases, but his artistic scope expanded significantly following trips to Japan in 1998, which exposed him to an aesthetic that valued both artistic pottery and decorative painting. This exposure inspired Lane to develop a versatile artistic idiom applicable across various contexts and scales, from tableware and vases to furniture, murals, and complete interiors. Renowned designers and architects, such as Chahan Minassian and Peter Marino, recognized his talent and began incorporating his work into their projects. Lane soon started receiving independent commissions, primarily for residential settings, where his genius for monumental bespoke work became evident. Consistency and variation are hallmarks of Lane's success. His works are immediately identifiable by their deep relief textures and gilt spheres, yet he continually discovers new possibilities within this established vocabulary. A significant variable is his glazes, which he formulates from scratch, utilizing minerals like cobalt, manganese, and copper to achieve a wide chromatic range. The grid structure, a practical necessity for tilework, is transformed by Lane into an element of sculptural interest, with striations, perforations, or accordion folds moving across the regular backdrop, preventing the grid from completely disappearing under the biomorphic forms. One of Lane’s most notable commissions to date is the interior for the Hôtel de Crillon in Paris, completed in 2017. Collaborating with Minassian and architect Aline Asmar d’Amman, he designed the walls for the hotel's swimming pool, which is part of a spa area beneath a courtyard. This project was part of a major renovation of the 18th-century building, aiming for a streamlined opulence that distinguished it from contemporary hotel renovations. Despite working on high-profile commissions and for celebrity clients like Robert Downey, Jr., Lane maintains an unpretentious approach, remaining hands-on in his studio daily, transforming raw clay into evocative installations that infuse spaces with mood and physicality. #PeterLane #CeramicArt #ArchitecturalInstallations #InteriorDesign #Sculpture #ClayArt #BespokeArt #Materiality #HôtelDeCrillon

During the early 20th century, Flint Faience, a company closely associated with General Motors, adapted the ceramics process initially used for AC Spark Plugs in the automotive industry to create decorative and architectural tiles. This historical collection of photographs showcases the diverse applications of Flint Faience tilework. The company's products extended beyond industrial uses, finding their way into various public and private spaces, illustrating a unique intersection of automotive manufacturing technology and artistic ceramic production. One notable application of Flint Faience tiles was in radiator grilles. These tiles were specifically designed with hollow centers to facilitate heat dissipation, demonstrating an innovative approach to combining aesthetics with functional engineering. The presence of Flint Faience under the GM corporate banner was often marked by distinctive signage crafted from their own tiles, highlighting the company's proud affiliation and brand identity. The reach of Flint Faience extended to prominent architectural landmarks, such as the Fox Theatre in Atlanta, Georgia, where their tiles contributed to the interior design. Flint Faience also produced a wide array of tiles for residential use, including colorful bathroom tiles. A Ceramic Industry article from the period noted that "the wealth of the prosperous American citizen may henceforth be approximated by the ornateness of his bathroom," underscoring the luxury and status associated with these ceramic installations. The design and production process involved skilled artisans, as depicted in a 1929 photograph showing designers meticulously applying patterns and glaze to the tiles. Beyond homes and theaters, Flint Faience tiles were incorporated into institutional settings. Michigan elementary schools, for instance, featured unique installations such as combination drinking fountains, terrariums, and sandboxes adorned with their tiles, including playful animal-themed designs. Even mental treatment hydro-therapy suites utilized Flint Faience tiles, reflecting their presence in a range of public health and educational environments. The manufacturing process itself was industrial yet intricate, as evidenced by a 1929 image of tiles emerging from the tunnel kiln at the Flint Faience factory. The company's work also included large-scale artistic endeavors, such as a ship mural found at the U.S. Customs House in San Juan, Puerto Rico, and a marine scene adorning the interior of the S.S. Manhattan, showcasing their capability for custom, elaborate designs. The iconic "Body by Fisher" logo was also rendered in tile for the Buick plant, further cementing the connection between Flint Faience and the automotive giant. Various banner tiles and stair riser tiles demonstrated the versatility of their product line. The tiles were even used in recreational facilities, with a Detroit YMCA swimming pool featuring Flint Faience installations. These images collectively offer a comprehensive look at the historical significance and artistic legacy of Flint Faience tilework, demonstrating how a company rooted in automotive ceramics diversified its craft to leave a lasting impression on architecture and design. #FlintFaience #TileworkHistory #GeneralMotors #CeramicArt #ArchitecturalTiles #MichiganHistory #DecorativeArts #IndustrialCeramics #20thCenturyDesign

FMG Fabbrica Marmi e Graniti, a specialist in premium porcelain stoneware from Italy, has launched the latest iteration of its 'Live New Worlds' campaign. This initiative aims to explore new dimensions of creativity by metaphorically positioning its creators as 'ceramic astronauts' and 'mineral explorers.' The campaign highlights FMG's commitment to blending environmental respect with advanced technology, transforming natural materials like sands, clays, and minerals into high-end, large-format ceramic surfaces inspired by natural stone. The 'Live New Worlds' campaign is structured into three key phases: research, study, and vision. The first chapter, focusing on 'research,' depicts an astronaut navigating pristine, ancient terrains and examining the textures and reflections of ceramic surfaces derived from natural stone. This exploration leads to an analysis of the materials' composition, exemplified by FMG’s Calacatta Black MaxFine with a ‘Jewel’ finish. This product, characterized by its deep black hue and vibrant crystal details, showcases the rich material quality achievable through FMG's research-driven approach. The subsequent chapters, slated for release in the coming months, will delve into the 'study' and 'vision' aspects of FMG's development process. The 'study' phase involves a detailed examination of stone fragments' multi-layered composition, assessing the potential for creating technically and aesthetically superior factory-made surfaces. This includes a thorough analysis of the properties of the sands, clays, and minerals used in the production of large-format ceramic surfaces. The astronaut's attention shifts to Crema Avorio MaxFine, a product designed for both performance and sophisticated aesthetics. The 'vision' chapter brings the creative journey to the factory, which serves as the core of the transformation process. Here, intuition, knowledge, and technology converge to create FMG's surfaces, maintaining an authentic connection to the natural world. Alaska White MaxFine, with its rich colors and complex textures, embodies this process of transforming raw materials into high-performance design solutions that redefine living spaces. Ultimately, the campaign concludes with the astronaut's immersive final foray, where the intricate details of the porcelain stoneware surfaces are revealed with clarity, inviting viewers to appreciate these materials from a novel perspective. This campaign underscores FMG's dedication to innovation, sustainability, and the artistic transformation of natural elements into sophisticated design products for interior applications. #FMG #PorcelainStoneware #CeramicSurfaces #LiveNewWorlds #InteriorDesign #MaterialInnovation #SustainableDesign #CalacattaBlack #CremaAvorio #AlaskaWhite

Michael Chandler, the artist and founder of Cape Town-based Chandler House, created a unique, hand-painted, nature-inspired tile installation for a fashion boutique in Miami. The project involved designing a large 'tree of life' motif in blue, adorned with birds, flowers, and a silhouetted climber, which spans the entire facade of the Cult Gaia store. A key element of the design is a ribbon above the entryway bearing the inscription: “May all the doors of the world always be open to you.” The commission began with an unexpected email inquiry from the Cult Gaia brand. Chandler initially found the idea audacious but proceeded with Zoom consultations and email exchanges, eventually leading to his involvement in the project. He executed the artwork in modular sections, meticulously numbering and mapping each tile to ensure a seamless installation on the building's exterior. Chandler was granted significant creative freedom in this collaboration. Drawing inspiration from the ancient world, he developed the 'tree of life' theme, which allowed him to incorporate a diverse array of natural elements including flowers, fruits, birds, and muses. He emphasizes that providing artists with creative autonomy often leads to exceptional outcomes. The aesthetic of the facade incorporates influences from traditional art forms such as Delft Blue pottery, Chinese porcelain design, and early Persian ceramics. Currently, Chandler is engaged in other projects, including a series of small panels for a vineyard located near Cape Town and a coral-themed mural for a family home with ocean views. The artist is particularly drawn to ceramic tile as a medium due to its inherent durability and longevity. He expresses enthusiasm for the idea that his artwork will endure for centuries, potentially bringing joy to future generations long after his lifetime. His work is accessible through the Chandler House website, which showcases his commissions, an art gallery featuring other artists' work, and an online shop. #MichaelChandler #TileArt #PublicArt #CeramicArt #ArchitecturalDesign #MosaicArt #ArtInstallation

This article highlights various innovative design pieces from global makers, showcasing a blend of traditional craftsmanship and contemporary materials. The featured designers and studios, hailing from locations such as Brooklyn, Copenhagen, and Ukraine, emphasize unique artistic visions and sustainable practices in their creations. Each piece is a testament to meticulous design and material exploration, ranging from intricate glass sculptures to furniture made from reclaimed materials. The article begins by introducing Reevein Studios, specifically Sara Rosa Oppermann and Alice Soro Cilliara, who create mouth-blown glass sculptures. Their 'Spora' sculpture, available in amber and electric blue, demonstrates the artistic manipulation of glass into fluid forms. Following this, Djivan Schapira's 'Divergent' foyer and low tables are presented, characterized by resin inlaid with bronze wire, offering a modern aesthetic with intricate detailing. Kateryna Sokolova's 'Flock' chair for Noom, featuring an upholstered injection-molded soft-foam body and stained-ash feet, illustrates a combination of comfort and sculptural form. Faina's Victoria Yakusha contributes the 'Sontsehryv' sculpture, which stands out for its sustainable composition. This piece is crafted from Ztista, a proprietary blend of cellulose, clay, flax fiber, wood chips, and biopolymer, reflecting a commitment to eco-conscious design. Streicher Goods, led by Ethan Streicher, showcases a collection of lamps—Archie, Ping Pong, and Drum—fabricated using various stoneware clays, underglazes, mid-range glazes, and sometimes blown glass or 3D-printing processes. These lamps explore diverse material combinations and manufacturing techniques. Mansi Shah of Manu Nanu presents an interlocking vase made of hand-blown borosilicate glass in amber and cobalt-blue, demonstrating a sophisticated approach to color and form in glasswork. Nathan Litera's side table combines natural rope and grand antique marble, offering a textural and material contrast that evokes both rustic and luxurious sensibilities. Astraeus Clarke, by Chelsie and Jacob Starley, features the 'Lenox Small' three-globe light, available in wall sconce and chandelier formats, constructed from powder-coated steel, brass, and glass, indicating a versatile lighting solution. Eduardo Rivas of ERM Studio contributes the 'Materia Digital' cast-aluminum coffee table with a glass top, showcasing a blend of industrial materials with a refined finish. Kiki Goti's 'Belted and Buttoned Up' wall lights, made from aluminum, polished nickel, and steel, exemplify a contemporary and structured lighting design. Feyza Kemahlioglu of Feyz Studio, through Wexler Gallery, introduces the 'Glowing Sentiments' lighting collection, which incorporates hand-blown Murrine glass, brass chain, and Meerschaum, a hand-carved clay mineral, highlighting intricate details and unique material sourcing. Ciara Jade Dockery’s 'Creature Comforts' collection includes a Flokati wool pouf, a Mohair bench crafted from vintage rugs, and a Ply occasional table made of FSC-certified plywood. These pieces emphasize comfort, sustainability, and the repurposing of materials. Matt McKay presents the 'Jib' shearling and lacquer stool, the 'Ahoo' cashmere-upholstered lounge chair, and the 'Cap' resin and lacquer coffee table, all demonstrating a focus on tactile luxury and modern forms. Finally, Michelle McLaughlin of Calyer Ceramics features the 'Sprig' floor lamp, which features a ceramic stoneware base with a handmade glaze and a linen shade, showcasing a handcrafted approach to lighting. #MaterialInnovation #ProductDesign #SustainableDesign #Handcrafted #Ceramics #GlassArt #FurnitureDesign #LightingDesign #InteriorDecor