I was admiring the work of ceramic artist Gwyn Hassen Pigott last night, so I’ve brought across a handful of imagery from this artist who’s been working in the field for almost 60 years now. It’s hard not to appreciate someone who’s been working in the same area for this long, in my generation I think it’s an ideal thats on the decline but hopefully a few of you will appreciate this concept and will look to consider it within your own path in life after seeing these.
In terms of the work we have here it’s quite evident that we are presented with somewhat of a master in this field, as these vessels are absolutely flawless in their form. When we first took an interest in ceramics here on the site we quickly learned that you have to love objects for their imperfections, as it’s what attaches them to their maker. I think Gwyn’s work however goes a little beyond this, as it’s hard to point out any details that are not as precise and perfected as they can be. I guess you could propose that Gwyn’s individual mark is one of quality apposed to imperfection.
With this in mind it’s no surprise to me that Gwyn is regarded as one of Australia’s leading ceramists, I just wish I’d come across her work earlier as she really is on another level in terms of clarity of form. This is obviously something that has taken year on year to perfect, involving a quest to become a potter that started back in 1955 when Gwyn skipped her Honours year in Fine Arts to work with Ivan McMeekin as his apprentice. Their relationship would reaffirm her passion for the art, with McMeekin sharing his collection and love for Chinese pottery which later would serve as inspiration for her own creations.
From here she would journey across the globe learning new techniques and ideas along the way, spending time in the remote locations of Cornwall, Bourges and south-eastern Queensland to name a few. These rural retreats would provide ample resources needed for her work and enough harmony to establish her own style. Whilst in the Uk Gwyn would meet and work with Ray Finch, Bernard Leach and Michael Cardew, all of which were considered legendary potters at the time, before establishing her own studio with Louis Hanssen in Notting Hill, London. Whilst in London she would be elected as a Fellow of the Society of Design Craftsmen in 1963 before moving on to Bourges until 1973 when she would return to her homeland as an established artist.
I’ve developed a huge admiration for Gwyn and her ceramics which is something that hopefully I can pass across to a few of you. So as I head off to read a little more on this talented creative, I trust you enjoy what we have here and perhaps do the same too. This collection here is an example of her current work which she’s still as passionate and dedicated to today, and if that isn’t inspiring I don’t think I know what is. In the meantime if you’d like to see more from Gwyn Hanssen Pigott she is currently represented by the National Gallery of Victoria which I will leave a link to just below.