Ceramic Works
Ceramic works available for purchase at CraftACT gallery https://craftact.org.au/collections/sophi-suttor
'OLE'
Ole fuses historical emblematic ceramic pieces in a ceramic assemblage. Pieces are archaeological in nature obtained by research. Ole explores aspects of Spanish culture as seen through western eyes. This image is depicted many artforms. This establishes a familiarity in the audience. The matador and the bull are two separate pieces on a platter from the 70’s previously used as an ashtray now re-purposed.
The work churns with colour, energy and cultural ideologies defying traditional concepts of art beliefs. It presents a romantic notion of the blood thirsty and cruel reality of the ritual.
Ole was made in Japan in the 50’s/70’s. It is in original condition and my contain faults and flaws attesting to its age and experience as a decorative piece. It has an archaeological context and parameters. It is a work that represents mass production and affordability for the ordinary person.
Ole is slip cast in white earthenware with mid-fire to low temperature glazes. Ole explores glazing techniques and the use of post firing colour. The surface of the platter it is a commercial glaze found in low art and commercial ceramics. Such glazes rarely appear in galleries or fine arts works.
Ole continues themes in Sophi’s work on the environment, layering historical themes and re-purposing of historical ceramics. Juxtaposition of images challenge accepted art practice. Ole mines the past for meaning like one would mine for diamonds
‘Bipolar’
Bipolar is a fusion of individually sourced pieces exploring the juxtaposition between climate change and deep emotional relationships.
The work churns with arctic elements of cold, survival, and mortal peril. The emotional connection between mother and child elicits conflicting responses between the impending disaster of climate change, the natural instincts surrounding family and the dichotomy of concern for polar bears: a species that is dangerous to humans and that has been doomed to eradication by climate change.
All pieces are slip cast in white earthenware with mid-fire and low temperature glazes usually found in low art and commercial glazes. Such glazes are rarely found in galleries or fine art works. The blue glaze is known as a crawling glaze, exploiting a well-known glaze fault to a desired and sought-after effect.
‘Bipolar’ continues themes in Sophi’s work on the environment, layering historical themes and re-purposing of historical ceramics.
Bipolar is a fusion of individually sourced pieces exploring the juxtaposition between climate change and deep emotional relationships.
The work churns with arctic elements of cold, survival, and mortal peril. The emotional connection between mother and child elicits conflicting responses between the impending disaster of climate change, the natural instincts surrounding family and the dichotomy of concern for polar bears: a species that is dangerous to humans and that has been doomed to eradication by climate change.
All pieces are slip cast in white earthenware with mid-fire and low temperature glazes usually found in low art and commercial glazes. Such glazes are rarely found in galleries or fine art works. The blue glaze is known as a crawling glaze, exploiting a well-known glaze fault to a desired and sought-after effect.
‘Bipolar’ continues themes in Sophi’s work on the environment, layering historical themes and re-purposing of historical ceramics.
'Call of the Wild'
Ceramic assemblage exploring historic ceramics with an emphasis on rare glazes. This The work is embedded in environmental issues rejecting smoking as an acceptable social activity. These works repurpose the ash tray with the Elk. The references the 70’s and Joern Utzon extending their shelf life to avoid landfill. It opened the floodgates to Scandinavian concepts in art and design in Australia. The tray is a distant echo of painting of the 60’s and Jackson Pollock.
The clash of images is a dynamic.
From the historical aspect the tray is a fifties survivor layered with the change in direction in Art design prompted by Joern Utzon and the Sydney Opera House. There is a faint reference to Jackson Pollock. The juxtaposition is an impetus to reflection and retrieving memories in the audience.
Ceramic assemblage exploring historic ceramics with an emphasis on rare glazes. This The work is embedded in environmental issues rejecting smoking as an acceptable social activity. These works repurpose the ash tray with the Elk. The references the 70’s and Joern Utzon extending their shelf life to avoid landfill. It opened the floodgates to Scandinavian concepts in art and design in Australia. The tray is a distant echo of painting of the 60’s and Jackson Pollock.
The clash of images is a dynamic.
From the historical aspect the tray is a fifties survivor layered with the change in direction in Art design prompted by Joern Utzon and the Sydney Opera House. There is a faint reference to Jackson Pollock. The juxtaposition is an impetus to reflection and retrieving memories in the audience.
News: Received invitation today I am invited to participate in a group exhibition at Brunswick Galleries July 21- August 3 in Melbourne AUstralia is the theme. All welcome
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a NEW PIECE