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Porcelain has a rich history in decorative arts and fine tableware, and it is the perfect material in conveying my notions of the evolution of consumption. For this narrative work, I channeled my love-hate relationship with sugar into intricate sculptures that consist of a combination of hand-built, hand piped and slip-casted forms of fetus skulls, pastry and confections. I love the white color of porcelain, and mostly because the smooth consistency is so closely related to dough, ice cream, frosting and icing. I find the formal qualities of a beautifully frosted cupcake, patterns of sprinkles atop a glazed doughnut, or the ultimate poufy shape of a meringue extremely enticing, and I wanted to replicate these textures through playing with different consistencies of clay slip. My pieces are also fired at a lower temperature to achieve a warmer tone of white. I prefer to not glaze my work and keep the surface bare and bone-like because they are meant to be evocative and peaceful at the same time. This work is an ode to my obsessive and indulgent nature, love of pastry arts, frustration, and ultimately, acceptance of sugar addiction.
Porcelain has a rich history in decorative arts and fine tableware, and it is the perfect material in conveying my notions of the evolution of consumption. For this narrative work, I channeled my love-hate relationship with sugar into intricate sculptures that consist of a combination of hand-built, hand piped and slip-casted forms of fetus skulls, pastry and confections. I love the white color of porcelain, and mostly because the smooth consistency is so closely related to dough, ice cream, frosting and icing. I find the formal qualities of a beautifully frosted cupcake, patterns of sprinkles atop a glazed doughnut, or the ultimate poufy shape of a meringue extremely enticing, and I wanted to replicate these textures through playing with different consistencies of clay slip. My pieces are also fired at a lower temperature to achieve a warmer tone of white. I prefer to not glaze my work and keep the surface bare and bone-like because they are meant to be evocative and peaceful at the same time. This work is an ode to my obsessive and indulgent nature, love of pastry arts, frustration, and ultimately, acceptance of sugar addiction.
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Kids Double Scoop Sculpture

Jacqueline Tse

United States

Sculpture, Ceramic on Ceramic

Size: 4 W x 4.8 H x 2.5 D in

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SOLD
Originally listed for $355
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About The Artwork

Porcelain has a rich history in decorative arts and fine tableware, and it is the perfect material in conveying my notions of the evolution of consumption. For this narrative work, I channeled my love-hate relationship with sugar into intricate sculptures that consist of a combination of hand-built, hand piped and slip-casted forms of fetus skulls, pastry and confections. I love the white color of porcelain, and mostly because the smooth consistency is so closely related to dough, ice cream, frosting and icing. I find the formal qualities of a beautifully frosted cupcake, patterns of sprinkles atop a glazed doughnut, or the ultimate poufy shape of a meringue extremely enticing, and I wanted to replicate these textures through playing with different consistencies of clay slip. My pieces are also fired at a lower temperature to achieve a warmer tone of white. I prefer to not glaze my work and keep the surface bare and bone-like because they are meant to be evocative and peaceful at the same time. This work is an ode to my obsessive and indulgent nature, love of pastry arts, frustration, and ultimately, acceptance of sugar addiction.

Details & Dimensions

Sculpture:Ceramic on Ceramic

Original:One-of-a-kind Artwork

Size:4 W x 4.8 H x 2.5 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am an emerging visual artist, based in Tucson, Arizona, working primarily in clay, metal and wax. Born 1984 in San Jose, California, raised between Hong Kong and the US, I received my BFA from New York University in Studio Arts in 2006. Right out of college I went onto a career in design. I worked in the fashion industry in New York City for a decade, designing jewelry for a variety of established American brands. I really enjoyed it, but working a full time design job and the stress from climbing the corporate ladder eventually caught up with me. I no longer wanted to contribute to fast fashion and corporate greed. Being laid off in 2015 was a blessing in disguise, that's when I returned to my passion of sculpting as a form of self therapy. My work is highly influenced by my anxieties of being human, particularly the dilemmas of everyday urban life. It is an ongoing exploration of my fascination with American society of excess and shameless consumerism, social media overstimulation, greed and gluttony as a remedy for emotional disconnection. Meanwhile still celebrating the beauty and flaws of these fragile human conditions.

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