*Please note, this artwork is being represented directly from Michaëlla's studio in France and therefore deliveries to all addresses are stated as 10 working days from purchase. Import taxes may be applicable to different destinations and if so will be charged via customs on import, they are not included within the purchase price however the delivery costs to any worldwide destination is. If you would like to check on delivery timings or would like help finding out about import tax, don't hesitate to get in touch.*
Sgraffito on white earthenware, fired at 1130°C in oxidation.
Framed in oak wood sourced from a 150- year-old flooring
H. 18 x w. 21 x d. 2 cm
"Crow I to IV – series of 4 portraits of crows each accompanied by an original poem (and a certificate of authenticity). Each frame is pierced with two holes on the back to allow screws to be fixed to the wall for flushed wall hanging."
About Michaëlla Smart
"Trained as a utilitarian ceramicist in the tradition of UK studio potters, I learned to work with clay harmoniously, adjusting my movements and technics to respond to it, but also to think of the environment and the impact of our activities on it. In late December 2020, I relocated my studio in a small mountainous hamlet in the heart of the Plateau des Millevaches, a natural park in Corrèze (France)."
"For the last few years, I have continued to explore the question of identity, ancestral memory and connection with the natural world outside of the Anthropocene narrative. I chose to move away from the potter’s wheel and privilege handbuilding, coiling and printing."
"First reproducing patterns and designs from the pre-hellenic period on vessels, I swiftly moved to the incorporation of the natural world as I experience it in our everyday life at the heart of a nature reserve. On my amphoras painted with a soft porcelain slip, sgraffito drawings of detailed pastoral and marine scenes populate the complex surface. I play with glazes, which I layer or embed in the clay to further accentuate the richness of the drawings and forms."
How does the location of your studio/home come into your work?
M: Since we live in the heart of a national park in France, wilderness compose a major part of my illustrative work (we often see deers, birds of prey and woodpeckers in our gardens). Observing first hand not only wildlife manages complex interactions with humans but also the impact that industry has on the land through extraction and exploitation, I continue to develop a body of work questioning the dominant narratives which too often induce us in error regarding our concepts of time and place.
Do you listen to anything as you work?
M: I often listen to podcasts and music. Whilst working on specific pieces, I might purposefully select genres of music to either slow or energise my hand gestures, so that the forms develop a character and movement accordingly and fluidly.
Do you plan each piece in advance or do they develop intuitively?
M: Although I do a lot of research prior to creating a new body of work, the making process remains a highly intuitive one, where i need to 'communicate' with the clay and a dialog takes place. Likewise, the drawings populating the vessels grow within the form: whilst handling the pieces, I let their shape and weight in my hands tell me which creatures should emanate from the surface.
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