Helen Frik responds to clay as an artist rather than a ceramicist. She compares the virgin block of clay to the blank sheet of paper, and clay modelling to drawing. Her memories of observed details in museums, stately homes, kitchens, and books mix with genres of things–a toast rack or a Roman cooking pot–as she makes what she refers to as “associative translations.” Frik takes an all-around approach, unusual in the ceramic world. She has no aim to perfect a niche technique, and her approach is catholic, magpie. She has a disregard for the preconceptions, orthodoxies, and history of the medium; it is, for her, another outlet for the things in her head and her hands. The results are joyous: useful, useless.
Courtesy of David Risley Gallery
Glazed Black Firing Stoneware, brass, silver
11.42 x 8.27 x 6.30 in
29.0 x 21.0 x 16.0 cm
This work is signed.
Helen Frik responds to clay as an artist rather than a ceramicist. She compares the virgin block of clay to the blank sheet of paper, and clay modelling to drawing. Her memories of observed details in museums, stately homes, kitchens, and books mix with genres of things–a toast rack or a Roman cooking pot–as she makes what she refers to as “associative translations.” Frik takes an all-around approach, unusual in the ceramic world. She has no aim to perfect a niche technique, and her approach is catholic, magpie. She has a disregard for the preconceptions, orthodoxies, and history of the medium; it is, for her, another outlet for the things in her head and her hands. The results are joyous: useful, useless.
Courtesy of David Risley Gallery
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