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Altarpiece II Sculpture

Manjula Muir

United Kingdom

Sculpture, Ceramic on Ceramic

Size: 13.4 W x 2.8 H x 9.8 D in

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About The Artwork

This dish is part of the Transience collection which reveals my interest in ancient objects from archaeological findings whether unearthed from deserts or dredged from the depths of the oceans. Some are based on articles of Babylonian origin which I have observed and studied from many museums around the world. The objects are both contemporary and ancient. They combine different cultures. The partial and crackled form demonstrate an ephemeral beauty,fragility and evanescent nature of life. I use many different techniques to create the desired effect to convey the history of the piece and its origins. This piece is made from stoneware and porcelain clay rolled together very finely but ensuring that it is able to withstanding the high temperatures and pressures of the high-firing process. The clay sheet is then torn delicately to form the dish. It is decorated and then fired twice in an electric kiln. The initial biscuit firing to 1000c and final stoneware firing to 1260c. This makes the piece vitrified and therefore waterproof and also gives it a tensile strength. The top surface is covered with a high fired transparent green glaze and the base washed with a cobalt wash. The edge has been touched lightly with fools gold to create a lustrous metallic look to give the appearance of opulence. I have decorated both the top and underside of the dish so that it is possible to be displayed on a plate stand if desired and both sides can be appreciated as two distinct works of art. This pieces relates to the fragility and vulnerability of all things which are subject to the laws of nature. It depicts items that may have had a past life in Temples and Palaces of the ancient world and now uncovered by archaeology as remains immortalising beauty in its new setting. Altarpiece II The decoration on both sides is a hint to the important part this opulent piece would have once played and the reverence it would have received from the high priests to the temples it came from. The top surface shows off the delicate porcelain & buff clay crackle technique which emulates the rippling waves of soft sand at the bottom of the sea, now appearing to be fossilised into the body of the dish itself. The underside has a textured pattern with a cobalt oxide wash, which gives a vibrant dark colour to its base. This piece has been fired in an electric kiln to 1260c so it is waterproof and can be washed with water to remove dust or dirt. I imagine this ancient artefact to have been once used by the priests of the ancient temples of Babylonia. Offering precious scented ointments or perhaps exotic dried fruit to appease the gods. It is a tactile piece which can be displayed on a plate holder or in front of a mirror to show of its base and would look stunning in a modern or traditional setting.

Details & Dimensions

Sculpture:Ceramic on Ceramic

Original:One-of-a-kind Artwork

Size:13.4 W x 2.8 H x 9.8 D in

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I was born in Paddington, London, but spent my formative years in Sri lanka and returned to the UK with my family when I was 7. The unspoilt nature that was the Garden of Eden which I remember as my playground at our home in Sri Lanka has left a lasting influence on me. I grew up in the 70's and 80's in Essex with my family and graduated from the University of Dundee. After initially following a career as an accountant, in 2003 I embarked on my long term passion for art and creativity that I had since childhood. Although I am largely self taught, I studied further into ceramics at the University of Hertfordshire in 2008 and City Lit London in 2014 and picked up skills from studio potters here in the UK, as well as in Sri Lanka, Nepal and Japan. My mum was a dressmaker and designer and I have fond memories of my preschool years spent at her dressmaking school playing with her students and the colourful fabrics, which was my initial introduction to creativity. I also remember being encouraged to make the toys we played with from coconut shells and all matter of plant materials found/that fell from the trees in our garden in Sri lanka by my nanny. My love of ceramics eventually took me to Japan in 2003 to observe the various ceramic techniques and works of the famous potter Soji Hamada in Mashiko. There I acquired the techniques and confidence of working with different materials, which enabled various forms of expression. My work consists of unique and original handmade pieces made from stoneware and porcelain clay. I fire my work in an electric kiln in my studio. The first firing is to 1000c and the final stoneware firing is usually from 1260c to 1300c. I use stoneware clay as it fires high, which enables it to be waterproof, and has a strength and durability that I like, and compliments the experimental way in which I work, pushing the materials to their limits. I use various techniques and surface decoration to create the illusion of age and decay through the passage of time. Some of the pieces are decorated by glazes that I have made from raw materials found within my local surroundings and the body of some items has within them the clay from the soil in my garden in Hertfordshire. In using the same methods and materials as the ancient masters and manipulating the medium in this way it gives me a unique perspective and insight into the world of the forgotten craftsman of a bygone age.

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