Contemporary Japanese art in the 21st century is heading in a new and unique direction.
Exhibited artists: Ken Mihara, Shigekazu Nagae, Atsushi Takagaki, Takahiro Yede, Naoki Takeyama, Niyoko Ikuta, Shunichi Yabe, Masaaki Yonemoto, Takafumi Asakura
Artists are using traditional techniques to create not craft, but objects of self-expression that are very much a type of sculpture that can change space itself. Such artists are pushing the boundaries of their respective mediums to new heights, using new techniques and materials that have not been used before.
Yet when one takes a step back and views today’s world of contemporary art, it is widely seen that concepts are allowed to run free, whilst the importance of technique and actual artistry are left behind and abandoned. Throughout art history, one can consistently observe an element of craftsmanship in fine art, from the statues of Greece to the frescoes of Italy, from the ink paintings of China to the folding painted screens of Japan. Even in expressionist and abstract painting, the works of Monet, Van Gogh, Picasso, Pollock, Rothko, Bacon and Freud were instilled with an element of technique as a priori. Craftsmanship was a given, but was not the sole emphasis. Technique was simply needed to realise the form of self-expression that they envisioned in their mind’s eye. Technique was not a starting point, but was a necessary means to an end. Likewise, I find that the artists affiliated with Yufuku are not technique-oriented artists, even though many of them are renowned for their technical prowess. Rather, for artists such as Shigekazu Nagae and Ken Mihara, the technique is simply a requirement needed for them to create the clay sculptures that they wish to manifest. Technique, again, is a given, and is only a means to an end.
If taken in this light, I find that the term craft or the Romanized Japanese word Kogei (synonymous with craft) is gravely inadequate in fully expressing what these contemporary Japanese artists are actually creating. Their works are not craft works, and they are not craft artists. Instead, they are emancipating their art from the fetters of language and from the limitations imposed by the element of categorisation. Such is the progressive moment in today’s Japan. I call them the Keisho-Ha (the School of Form), and can be also expressed as a New Materialism, wherein technique and material are chosen specifically to create sculptural works imbued with self-expression. This is, in a sense, a Return to Innocence, or a revival of artistry within art.
Today’s Japan is a world where craft does indeed exist vibrantly, and craft is very much alive and well in the likes of the Traditional Art Crafts Exhibition and the Living National Treasure System, along with potters and makers of mass-produced vessels for everyday life. But one cannot continue to categorise the makers of everyday utilitarian tea cups and bowls with the same terminology and language as artists wielding the very same techniques to create works that are worlds apart from these everyday objects. A different expressive process is taking place, and the Japanese are at a loss for properly contemplating and understanding this new movement. To lazily lump everything together as craft or kogei was simply out of convenience, an excuse for the Japanese to stop thinking about the subject that was so obviously unique to their culture, and is so vastly different from traditional Western connotations and demarcations of art and craft.
"The limits of our language are the limits of our world." Yet if such is true, then why not expand the boundaries of our language and properly express what is happening in our world today?
Such is the importance of language and ontology.
The artists assembled in this exhibition are a representation of this new movement in today’s Japan, a movement that Yufuku finds its lifework and reason for existence. This is art. And they are the Keisho-ha. Such is a true return to innocence, an emancipation of art for the sake of art.
Wahei Aoyama, Owner and Director of Yufuku Gallery
Kerry Jameson’s new sculptures have an emotional charge that is presented through a mix of narrative set pieces, tableaux and individual figures. Subjects include historical events and the exploits of folkloric and storybook characters. She derives inspiration from an equally eclectic range of sources, which include portrait paintings, the figures of British myth such as the Burryman and Wicker Man, the work of animator Ray Harryhausen, a fascination with the polychrome religious sculptures of 17th century Spain and the toy collections of the Bethnal Green Museum of Childhood. She explains: ‘A work starts with a thought or feeling, an undigested experience that needs to be worked through.’
She says: ‘I want to capture life in my work, a sense of movement, the feeling of something living… a constant state of transition.’ This ambition is experienced inthe faintly disquieting feeling that one of her figures might just spring into action. It is also apparent in the attention she gives to keeping the material qualities of a piece ‘alive’. Dissatisfied with the seeming permanence of fired clay, she adds layers and detail through the use of other materials to create nuanced effects. In addition to the ceramic base, components of a figure can be hessian, canvas, wool, fur, wood, paint, seeds, stones and sometimes hyper-real glass eyes.
Each of the works is either an imaginative exploration of a possibility or reflects on some human idiosyncrasy. In this world part-animal/part-human characters abound. Scenes from the past are also played out, as in her battle sequence based on Pickett’s Charge during the Battle of Gettysburg - representing a famous military blunder of the American Civil War - thereby reflecting on how misplaced human confidence can override logic and reason. With reference to both her subject matter and approach, Jameson admits to an interest in ‘things that aren’t quite right’ and to ‘things that happen on the boundaries’, rather than on firm, fully rational ground. The predominant aesthetic is that of the uncanny – where objects or ideas are recognised as familiar and at the same time experienced as deeply strange.
Words by Tessa Peters
Gallery hours: Tuesday to Friday, 11:00 - 18:00 and Saturday, 11:00 - 16:00. The nearest tube stations are Barbican, Farringdon or Old Street.
Ken Mihara’s ceramics are a visual ode to his native land, Izumo, Shimane Prefecture, known as the capital of the gods; a land steeped in ancient Japanese myths and legends. The vessels are a culmination of elegant shapes, soft delicate curves, and ancient forms inspired by the surrounding land. Mihara’s striking palette of blues and dark greys intersperses with bursts of beige, gold and orange hues.
Using clay rich in iron from his native Shimane Prefecture, Mihara constructs each work through an organic creative process. Each piece is hand formed using a coil and oinch technique to create a strong linear quality. Mihara states: “I consider it my job to help the clay express its beauty”, and likewise, “clay leads, and my hands follow. I do not know what shape my work is going to end up even while I am making it.” (Ken Mihara in conversation with Nishi Keiko, An interview with artist Mihara Ken, e-yakimono.net, August 2002) His most recent series titled Kei (Mindscape) generate a sense of movement and vitality through gentle folding and bending. The vessels feature double-walled interiors that swirl and spiral similar to small galaxies. The outer walls subtly embrace a complex interior; whilst at the same time the compositional tension allows the form to unravel.
Mihara’s most revered series, Kigen (Genesis), are primordial in formation. The structures are symmetrical and balanced, which create a unique combination of subtlety and solidity. The rough, unrefined and grainy surface texture adds to the ancient ambiance. Mihara repeatedly fires the vessels at high temperatures to slowly unlock subtle and soft colours ranging from deep grey to peach to misty whites and purples. Mihara states: “The high degree of chance and serendipity in any firing is far beyond my control.” (Ken Mihara, “Mihara Ken – The power of chance”, Ceramics Art and Perception, issue 73, 2008, p84)
Ken Mihara was born in 1958 in Izumo, Shimane Prefecture, Japan. After completing his studies in 1982 with Funaki Kenji, Mihara participated in numerous exhibitions and prizes. In 2005, he received a grant from Tomo Museum to travel for 6 months throughout Italy, from Milan, then south to Florence, Rome and Sicily. Mihara has been the recipient of many prizes and awards, including the prestigious Japan Ceramic Society Award in 2008; Paramita Ceramics Competition, Paramita Museum, Japan in 2006; The Energia Art Award in 2002 and the Shizuoka Prefecture’s Cultural Encouragement Award in 2009. Mihara has exhibited internationally with SOFA New York, New York (2008), Galerie Besson, London (2010), and most recently with Joan B Mirviss Gallery, New York (2011). His works are held in public collections including The Metropolitan Museum of Art, New York; Victoria and Albert Museum, London; Los Angeles County Museum of Art, Los Angeles and The National Museum of Modern Art, Tokyo. Since 1996, he has been represented by Yufuku Gallery, Tokyo, Japan.
The Liverpool Street Gallery concomitently hosts the solo exhibition of artist Kevin Lincoln.
Deadline for applications: June 30, 2013
International Ceramic Art Symposium “LANDescape” is a new joint initiative of Daugavpils Clay Art Center and Daugavpils Rothko Art Center which emerged from both partner organizations’ activities and co-operation aimed at promoting contemporary art, including contemporary ceramic processes in Latvia.
In the framework of planned ceramic symposium “LANDescape”, drawing inspiration both from Latvian nature and cultural space, as well as personal world, the participants are invited to create unique ceramic art works with their chosen materials and techniques, although there is a conjunctive theme, that indicates „spurting”, „escaping” „getting away”, „political position” etc., as well as being away from what we are used for and „coming from earth or into it” in the aspect of clay - material used.
Symposium is the place and time when artists, being freed from everyday worries and organizing their social life, can get completely drawn in the creative process. This kind of creative work, not only allows ceramists to meet colleagues from other countries and share experiences, but also to divert as much creative energy of the participants as possible towards creation, that may result in unique works of art.
Daugavpils as symposium venue is significant as it is the eastern border city of European Union, which attracts great artists’ attention with the region’s diverse ethnic, culturally historical environment, with deep cultural traditions and where different cultural and artistic links are self-evident. In addition, within Latvia, it is one of the largest border cities and provides a stimulating environment for cross-border artistic cooperation.
1. To collectively create ceramic fire sculpture ensemble, thus improving the cultural space of Daugavpils;
2. To create unique contemporary ceramic objects for Latvian art and cultural space, to create a platform for artists to exchange experiences and generate creative idea, as well as to promote contemporary ceramic processes in the society;
3. To promote high quality contemporary art availability to public, raise public interest in culture, preservation of cultural heritage, to promote the creation of new artworks and their collections.
Symposium organizers’ liabilities:
1. Artists accommodation costs in Daugavpils (hotel and meals);
2. Working studios;
3. Working materials – clay, chamotte clay, glazing, etc.
4. Opportunity to use wood-firing kiln, electric kiln up to 1300 degrees Celsius, as well as a chance to explore different types of individual firing;
5. Publicity (information in mass media, publishing of symposium catalogue);
6. Recreation possibilities: tour around the city and region, visiting educational arts establishments in Daugavpils;
7. Opportunity to present a creative work;
8. Symposium opening exhibition (opening on August 12, 2013);
9. Symposium final exhibition (opening on August 24, 2013).
Download Application form / Download Regulations
Application and other materials added should be sent by e-mail at email@example.com
Contact: Valentins Petjko, +37120207533, firstname.lastname@example.org
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Ceramics Now Magazine launches Issue 2 -
Ceramics Now has the pleasure to invite you to the launch of Ceramics Now Magazine - Issue 2, March 29, from 6 PM, at The Paintbrush Factory (First Floor), Cluj-Napoca, Romania.
Issue Two introduces the work of over 35 international artists, beginning with Ken Eastman, Kimberly Cook, Patricia Sannit, Marianne McGrath, Annie Woodford, Suzanne Stumpf or Ruth Power, and continuing with a special feature on Romanian ceramic artists, and a preview feature for Copenhagen Ceramics gallery. The issue also inaugurates the magazines’ new review category.
Ceramics Now’s goal is to make contemporary ceramics a more visible art field through editing publications and organizing exhibitions, workshops and lectures. The online platform and the magazine unites artists from different communities and facilitates idea exchange between them and the public.
The magazine is distributed in a network of libraries, galleries and institutions all over the world and can be bought online for $15. Ceramics Now is a non-profit organization created by a team of artists and students in Cluj-Napoca, Romania.
The Paintbrush Factory is a contemporary art space located at 59-61 Henri Barbusse street.
Read more about the magazine / Download press release / Facebook event
Although the number of contemporary ceramic artists is relatively small, the capacity of ceramics to encompass a broad range of concepts, techniques, and materials in comparison with other arts is surprisingly big. In this issue, as well as in our first, we present artists who work with different materials and techniques, but more importantly, each of them displays a distinct idea, a little hint of what he and his passion are made of. Through the interviews and articles we have included, we want at least a part of the artists’ ideas to be ridden, passed along, and to contribute to the advancement of contemporary ceramics.
While being creative in a field as diverse as contemporary art, it is almost impossible not to draw parallels between your work and someone else’s which was probably created in a media different from the one you use. This happens inevitably, and in my opinion, it always has a purpose – either predefined or not. Even if a parallel is found, each artistic endeavor has its own origin and, at least for the creator, a unique purpose. A new level is reached when the uniqueness of the artistic initiative is recognized and supported by an entire community.
Over the past year, Ceramics Now has become the largest online art platform dedicated to contemporary ceramics, and recently we have opened promotion to artists and galleries worldwide by application. This effort resulted from the wish to offer artists a platform to express themselves, but also from the desire to establish an accessible resource for everyone wanting to research and be inspired by contemporary ceramics. Since the launch of the first issue, we have been cited as a reference by numerous universities and colleges in the United States and Europe. This step was incredibly important for us because it has proven the value of the project and has kept us working hard. Although the current issue was published later than originally planned, what is important is that all the resources we gathered through this process have already traveled the internet in the meantime, creating a powerful community around us.
Our next goal is to become even more active in promoting contemporary ceramics on an international scale. Even though we have already organized four international exhibitions, with two being prepared for this year, all of these events so far have been held in Romania. In addition to inviting foreign artists to our beautiful country, we want to visit artists in their home countries and to organize events in as many places as possible for as many artists as possible. Key to our success will be greater financial stability and transitioning to full-time staffing of this project. It is a big step that can be possible with growing support from our readers. (An act of patronage has infinitely more value than a purchase.)
Editor at Ceramics Now
Harvard Art Museums present exhibition of Norma Jean Calderwood’s collection of Islamic Art
Includes Persian ceramics, illustrated manuscripts, drawings, and lacquerware
The Harvard Art Museums present In Harmony: The Norma Jean Calderwood Collection of Islamic Art, a special exhibition that showcases some 150 objects from the Persian cultural sphere, including luxury glazed ceramics of the early and medieval Islamic era, illustrated manuscripts of medieval epic poems, and lacquerware of the early modern era. The works in this little-known and largely unpublished collection represent 30 years of committed collecting by Mrs. Calderwood. In Harmony is on display January 31–June 1, 2013 at the Harvard Art Museums/Arthur M. Sackler Museum, 485 Broadway, Cambridge, MA.
The exhibition is curated by Mary McWilliams, Norma Jean Calderwood Curator of Islamic and Later Indian Art, Division of Asian and Mediterranean Art, Harvard Art Museums. An accompanying catalogue, edited by McWilliams, offers illustrated entries and nine essays written by distinguished scholars and conservation scientists from a broad range of specialties.
“In the decade since the Harvard Art Museums received the Norma Jean Calderwood Collection of Islamic Art, our gratitude has only increased for this magnificent gift,” said McWilliams. “Our research on the collection has inspired an even greater admiration and respect for Norma Jean’s knowledge and achievement. With this exhibition and catalogue, we hope to share with a broader audience the understanding we have gained of this beautiful and thoughtfully formed collection.”
“There has been exponential growth in the study of Islamic art in recent decades,” said Thomas W. Lentz, Elizabeth and John Moors Cabot Director of the Harvard Art Museums, “and Harvard University and the Harvard Art Museums have been at the forefront of this movement, with faculty, curators, students, and celebrated collections providing fertile ground for the field. The Calderwood Collection is a lasting contribution from a collector who understood the heart of our educational mission.”
Norma Jean Calderwood devoted much of her life to studying and teaching Islamic art and the complex of cultures in which it arose. She pursued graduate study in Islamic art at Harvard University, where she specialized in Persian manuscripts, and taught for many years at the Museum of Fine Arts, Boston, and at Boston College. A gifted lecturer, she was also an intrepid traveler, crossing North Africa, the Middle East, and Central Asia to study the art and architecture of Islamic lands. For three decades beginning in 1968, she systematically acquired examples of the artistic tradition that captivated her.
Stanford and Norma Jean Calderwood were energetic and generous philanthropists in their adopted city of Boston. Institutions that have benefited directly from the Calderwoods’ generosity include the Boston Athenaeum, Boston College, the Cambridge Art Association, the Harvard Art Museums, the Huntington Theatre, the Isabella Stewart Gardner Museum, the MacDowell Colony (Peterborough, NH), the Museum of Fine Arts, Boston, and public broadcaster WGBH. Their private art collection was the most tangible and personal expression of the Calderwoods’ lifelong involvement in the arts, but also the one least known to the public.
The Calderwood Collection
The Calderwood Collection covers more than a thousand years of artistic achievement in the Persianate world during the Islamic era, principally through the media of ceramics, works on paper, and lacquer. The majority of objects were produced between the 9th and 19th centuries in Iran, Iraq, and parts of Central Asia. Initially attracted to luxury ceramics, Norma Jean Calderwood amassed 57 examples within a decade before shifting her attention to works on paper—illuminated and illustrated manuscript folios as well as single-page compositions. A handful of lacquer objects rounds out the collection. The collection was gifted to the Harvard Art Museums in 2002, and a subsequent exhibition of 46 objects, titled Closely Focused, Intensely Felt: Selections from the Norma Jean Calderwood Collection of Islamic Art, was held August 7, 2004–January 2, 2005 at the Sackler Museum. That exhibition marked the first public showing of a major portion of the collection.
To convey to her students the effect of a Persian painting, Norma Jean Calderwood said that its many visual elements “united to form a harmony.” The theme is eloquently expressed in some of the finest works in the Calderwood Collection, as well as in the total assembly, with objects resonating through contrasts and connections. This exhibition celebrates the scope of Calderwood’s achievement and the harmony of purposes that led to the gifting of the collection to the Harvard Art Museums.
Next stop: Milkwood Gallery, Cardiff, Wales
41 Lochaber Street, Roath, Cardiff CF24 3LS
Dates: March 14-25, 2013
Opening Reception: March 22, from 6 pm.
Fragile! In Transit is the initial project of the Project Network 3 (three) collective, a group of 9 ceramic artists from across Europe. Throughout the course of one year, the artists are sending 9 pieces of work on a journey by post to each of their countries of residence. Fragile! In Transit engages with and responds directly to the notion of place, identity and culture. All the work is designed to fit into a prescribed box of similar format and together forms an exhibition centering on the balance between reality, fiction and perception of place. The project has already travelled to Ireland, Denmark and England. Upcoming destinations include Finland and Italy.
Artists: Elodie Alexandre - France/India, Roberta Giussani - Italy, Joseph Hopkinson - Wales, Katja Kotikoski - Finland, Claire Muckian - Northern Ireland, Eglė Pakšytė - Lithuania, Jill Shaddock - England, Helene Søs Schjødts - Denmark, Katie Spragg - England.
The group met at a six week symposium for recent ceramic graduates at Guldagergaard International Ceramic Centre in Denmark last year.
Follow the exhibition on its journey at www.facebook.com/FragileInTransit
First edition, October 9 - November 3, 2013
Applications deadline: May 30, 2013
Cluj International Ceramics Biennale is the first contemporary ceramics biennale organized in Romania, and is aiming to become an international meeting place for ceramic artists. Artists from all over the world are invited to apply and participate at the biennale with their ceramic works. Apply now (Applications deadline: May 30, 2013).
Expressing artistic sensibilities using the means of ceramic art is on a growing scale amongst artists all over the world, and in the last years the contemporary ceramics field started to be seen as a contribution to the major arts. The first edition of the biennale has the potential to change old mentalities, focusing on the contemporary context and presenting the diversity of concepts and techniques in the innovative field of contemporary ceramics.
Cluj International Ceramics Biennale (CICB 2013) is organized by Ceramart Foundation and Ceramics Now Association, in partnership with Cluj-Napoca Art Museum, the University of Arts and Design Cluj-Napoca, and The Romanian Fine Artists Union. The ceramics biennale will be held in several locations in the city of Cluj-Napoca, Romania, during October 9 - November 3, 2013.
The CICB’s goal is to become a contemporary meeting point for ceramic artists from all over the world. This artistic event will introduce the Romanian public to contemporary ceramic artists, practices and new concepts in the field. The biennale will also get round national and international institutions to work together with the aim of creating a living environment for ceramics in the city of Cluj-Napoca.
The profound changes in the world today, whether socio-economic, political or techno-scientific, have strongly influenced the artists’ search for new ways of expression, and engendered a change in how the creative act is viewed, both in terms of means of expression and in terms of message.
Sensitive to the slightest changes of artistic canon in the global Agora of contemporary arts, ceramic art evolves toward an interdisciplinary and integrative strategy. The new concepts that are gaining ground in the field attest to an aesthetic simbiosis with forms of expressivity specific to other artistic fields, while at the same time, retaining and accentuating - an experimental development specific to the field. The outcome could form an ingenious and resourceful alchemy.
For more information, please read more on www.ceramicsbiennale.com or email email@example.com
The jury for the first edition of CICB:
Zehra Çobanlı - Artist and Dean of the Faculty of Fine Arts, Anadolu University, Eskişehir, Turkey.
David Jones - Artist and Senior Lecturer in Ceramics at the University of Wolverhampton, England.
Les Manning - Artist and former Vice-President of the International Academy of Ceramics Geneva and Founding Director of the Banff Centre for the Arts, Canada.
Cristina Popescu Russu - Artist and Vice-President of the Romanian Fine Artists Union, Romania.
Ting-Ju Shao - Artist and writer, former committee consultant for the Taiwan Ceramics Biennale and Taipei Ceramic Awards.
Blazenka Soic Stebih - Artist, President at KERAMEIKON and Director of the International Festival of Postmodern Ceramics and Ceramica Multiplex, Varazdin, Croatia.
Arina Ailincăi - Romanian Fine Artists Union
Marius Georgescu - University of Arts and Design Cluj-Napoca, Ceramart Foundation
Vasi Hîrdo - Ceramics Now Association
Călin Stegerean - Cluj-Napoca Museum of Art
Gavril Zmicală - Romulus Ladea Fine Arts High school
Leading Latvian and worldwide well known award winning porcelain and ceramics artists Ilona Romule and Peteris Martinsons invite artists to spend the summer together in Latvia, Zvartava manor.
During 21 – 31 July, 2013 in Zvartava manor will be held Masterclass “Lithophane” – a practice based workshop in lithophane technique by Ilona Romule for participants with figurative and narrative ideas.
„Lithophane” Masterclass will be followed by a Symposium “Masculine and feminine ceramics” which will take place from 2 – 12 August, 2013. The symposium will be led in tandem by Ilona Romule and Peteris Martinsons.
Three money prizes have been established for the best works created during the Symposium “Masculine and feminine ceramics”. Symposium masters - Ilona Romule and Peteris Martinsons - together with each Symposium participant will select one of the created artworks to be dedicated for the symposium exhibition and afterwards to be left at disposal of Symposium organizers.
From all selected artworks for the exhibition, Symposium masters will take the decision on 3 best works to be awarded with following money prizes – 250 EUR for the 1st place, 200 EUR for the 2nd place and 150 EUR for the 3rd best artwork.
For participation fees and application procedure, please see the official website www.symposiums.lv
You are also welcome to follow the updates on their Facebook page.
"In a continued effort to claim the functional surface of the dinner plate as a painting surface, REVERIE includes a new collection of historically sourced plate paintings. In response to the domestic nature of the galleries at the Philadelphia Art Alliance, I have designed “Tea for Two” a historic teacup inspired fabric wallpaper installation.
For REVERIE I worked closely with curators at The Clark Art Institute in Williamstown, MA to source their largely unviewed collection of historic teacups for “Tea for Two”, a fabric wallpaper installation. The story of Francine and Sterling Clark personally collecting hundreds of teacups over a lifetime now housed in the Clark Art Institute archives resonated with my own personal Metcalf family history of collecting and coveting decorative arts.
Rather than seeking source material from an additional museum collection for my new plate paintings in REVERIE, I chose to mine my own family’s collection of ceramic objects. My own family history of collecting resonated with the Francine and Sterling Clark cup collection. Thanks to the generosity of my family, my new plate paintings will be exhibited alongside the originals on loan for the duration of the exhibition.
REVERIE is a personal exploration of the relationship between the historic and the contemporary with artworks crossing over categories of decorative art, design and fine art. Fascinated by how we live with objects, how and why we acquire objects and what happens to them throughout history, I see this exhibition as a reflection of the life of surface pattern through the decorative art continuum.” Molly Hatch
“No art is simply, blithely contemporary. That would be like saying our parents had no influence on us. Today’s art responds to and reacts against yesterday’s art. Hatch serves up the magisterial landscape on a grid of 30 hand-painted ceramic dinner plates. The grid of circles cleverly breaks up and abstracts the scene, but doesn’t abandon its coherence. Indeed, it spotlights the mark-making.” Boston Globe Review of COVET: Modern Riffs on Old Ideas by Cate McQuaid, May 30, 2012
Artist and designer Molly Hatch grew up on an organic dairy farm in Vermont surrounded by a startlingly diverse set of visual influences: the earthy reality of rural life, and the mysterious, disembodied luxury of antique decorative objects from her mother’s family, prosperous Boston merchants who used Chinese export porcelain as ballast in their ships. Inspired by these two seemingly disparate family narratives, Hatch became an artist with a life-long passion for the decorative arts and the dialog between old and new. She has developed a robust studio practice that encompasses both works of art and design for industry, keenly aware of the different concerns and goals of each, while engaging with the ambiguity of objects that seem to exist in both the decorative and fine art realms.