Edmund de Waal (B.1964)
Edmund de Waal (B.1964)
Edmund de Waal (B.1964)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY OF A PRIVATE COLLECTOR
Edmund de Waal (B.1964)

Colourfield

Details
Edmund de Waal (B.1964)
Colourfield
a set of ten vessels impressed with artist's seal (on the underside)
white glazed porcelain, varying colour to each interior
largest 3 5/8 high x 7 7/8in. diameter (9.2 x 19.9cm.)
Executed in 2004
Provenance
Acquired directly from the artist by the present owner.
Literature
E. De Waal, J. Veitberg, H. Waters & J. Beighton, Edmund de Waal at Kettle’s Yard, mima and elsewhere, Kettle’s Yard, Cambridge, 2007 pp. 102-103 (illustrated).
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Post lot text
“If you do it well, there’s the inscription of memory within vessels so that you feel that there’s a host of different meaning attached to them and you can bring that alive in the ways in which you frame them.”

- Edmund de Waal

Brought to you by

Leonie Mir
Leonie Mir

Lot Essay

Edmund de Waal’s concern is with pushing boundaries. His objective is to provoke thought and for the viewer to recognise there are multiple dialogues involved when considering works. Previous assumptions and prejudices come into question, beginning with the issue of function. Historically the purpose of ceramic pots has been utilitarian, but on closer inspection of the forms of his pieces, this premise is intentionally called into sharp focus.

His fascination with multiples results in comparisons being made between apparently similar items which, by very nature of their being hand-made, means subtle distinctions between individual items are inevitable. They are apparently mass produced multiples and yet inherently unique. They also exist not only in relationship to one another, but also within any given spatial parameters. De Waal has an admiration for the work of the minimalist artist Carl Andre, who likewise explored the relationship of repeating items within a work.

Display and presentation are central to de Waal. He recognises that his vessels are movable and so their dialogues of space, time and context alter and become transient. Environments for works can be created and similarly works can be made for specific locations. Unexpected positioning can imbue a work with new meaning, distinct from a viewer’s previous understanding.

In addition to being a renowned potter working in Britain, Edmund de Waal is also an acclaimed author, notably for his award-winning 2011 biography The Hare with the Amber Eyes, and his extensive writings on ceramics.

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