Colourfield

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.