Tessa Eastman, Low Density Red Cloud & High Density Red Cloud II, 2018, Multiple glazed stoneware, 230x230x200 mm. Courtesy of Jason Jacques Gallery. Photo by Juliet Sheath
Tessa Eastman, Low Density Big Seaweed Cloud, 2020, Multiple glazed stoneware, 400x400x400 mm. Courtesy of Jason Jacques Gallery. Photo by Juliet Sheath 
Tessa Eastman, High Density Russet Red Cloud, 2019, Multiple glazed stoneware, 150x150x1500 mm. Private collection, courtesy of Galerie de lโAncienne Poste. Photo by Juliet Sheath 
Tessa Eastman, Low Density Baby Green Blue Cloud, 2019, Multiple glazed stoneware, 180x180x160 mm. Courtesy of Jason Jacques Gallery. Photo by Juliet Sheath 
Tessa Eastman, High Density Big Red Cloud, 2018, Multiple glazed stoneware, 400x400x400 mm. Courtesy of Jason Jacques Gallery. Photo by Juliet Sheath 
Tessa Eastman, High Density Snow Cloud, 2019, Multiple glazed stoneware, 260x260x200 mm. Courtesy of Jason Jacques Gallery. Photo by Juliet Sheath
Tessa Eastman: Ball Clouds, 2018-2020
The Ball Clouds were inspired by observing cloud formations and crystal structures at the Museum of Mineralogy, Paris and subsequent visits to the Natural History Museum, London. The first Ball Clouds were glazed in a white froth and they have gradually become larger in scale and more colourful, taking on an otherworldly existence.
Japanese artist Yayoi Kusama creates obsessive paintings she calls โInfinity Netsโ. The nets in her paintings can be read as obscuring screens that allow only a partial view of what lies behind or beyond. Like her paintings, the Ball Clouds recall the timeless beauty of the skeletal, grid and mesh structures in nature where no part within the system is exactly the same and the shapes mutate producing tension.
