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Chris Watt Biography East Asia |
 Ewer, Stoneware, China, Northern Sung Dynasty, 19.9cm, Late 11 to Early 12 c. CE The swelling body, double spout, important but subtle glaze, and the complex design that covers the surface of this elegant ewer complement one another. The celadon glaze, which derives its color from iron, collects in thicker pools where more clay has been hollowed out to create the carved patterns. This double spouted Ewer poured water in the most eloquent of fashions. The belly form was thrown on the wheel, with the addiction of a pulled handle and hand formed spout. I made the piece in this same manner and reduction fired it in order to create the classic celadon.  Ewer, Stoneware, China, Northern Sung Dynasty, 19.9cm, Late 11 to Early 12 c. CE The swelling body, double spout, important but subtle glaze, and the complex design that covers the surface of this elegant ewer complement one another. The celadon glaze, which derives its color from iron, collects in thicker pools where more clay has been hollowed out to create the carved patterns. This double spouted Ewer poured water in the most eloquent of fashions. The belly form was thrown on the wheel, with the addiction of a pulled handle and hand formed spout. I made the piece in this same manner and reduction fired it in order to create the classic celadon.  Ewer, Stoneware, China, Northern Sung Dynasty, 19.9cm, Late 11 to Early 12 c. CE The swelling body, double spout, important but subtle glaze, and the complex design that covers the surface of this elegant ewer complement one another. The celadon glaze, which derives its color from iron, collects in thicker pools where more clay has been hollowed out to create the carved patterns. This double spouted Ewer poured water in the most eloquent of fashions. The belly form was thrown on the wheel, with the addiction of a pulled handle and hand formed spout. I made the piece in this same manner and reduction fired it in order to create the classic celadon.  Ewer, Stoneware, China, Northern Sung Dynasty, 19.9cm, Late 11 to Early 12 c. CE The swelling body, double spout, important but subtle glaze, and the complex design that covers the surface of this elegant ewer complement one another. The celadon glaze, which derives its color from iron, collects in thicker pools where more clay has been hollowed out to create the carved patterns. This double spouted Ewer poured water in the most eloquent of fashions. The belly form was thrown on the wheel, with the addiction of a pulled handle and hand formed spout. I made the piece in this same manner and reduction fired it in order to create the classic celadon.  Were-Jaguar, Earthenware, Original: 35.1 cm, Meso-America, Mexico, Olmec Civilization, 1200-900 BCE The dominant motif in Olmec art is the figure of a god that is a hybrid of a jaguar and a human infant, the were-jaguar. The name is derived from old English were, meaning man and jaguar, being the most respected animal of the region due to its hunting ability, agility, strength, and aggressiveness; all characteristics admired by Mesoamerican societies. The were-jaguar figure is characterized by a distinctive down-turned mouth, almond-shaped eyes, and fleshy lips. It is generally thought that the Olmec believed 'they sprang from a union of man and jaguar'. The original and my piece were both hand modeled out of earthenware and coated with a white terra-sigillata.  Were-Jaguar, Earthenware, Original: 35.1 cm, Meso-America, Mexico, Olmec Civilization, 1200-900 BCE The dominant motif in Olmec art is the figure of a god that is a hybrid of a jaguar and a human infant, the were-jaguar. The name is derived from old English were, meaning man and jaguar, being the most respected animal of the region due to its hunting ability, agility, strength, and aggressiveness; all characteristics admired by Mesoamerican societies. The were-jaguar figure is characterized by a distinctive down-turned mouth, almond-shaped eyes, and fleshy lips. It is generally thought that the Olmec believed 'they sprang from a union of man and jaguar'. The original and my piece were both hand modeled out of earthenware and coated with a white terra-sigillata.  Were-Jaguar, Earthenware, Original: 35.1 cm, Meso-America, Mexico, Olmec Civilization, 1200-900 BCE The dominant motif in Olmec art is the figure of a god that is a hybrid of a jaguar and a human infant, the were-jaguar. The name is derived from old English were, meaning man and jaguar, being the most respected animal of the region due to its hunting ability, agility, strength, and aggressiveness; all characteristics admired by Mesoamerican societies. The were-jaguar figure is characterized by a distinctive down-turned mouth, almond-shaped eyes, and fleshy lips. It is generally thought that the Olmec believed 'they sprang from a union of man and jaguar'. The original and my piece were both hand modeled out of earthenware and coated with a white terra-sigillata.  Lidded Krater, Earthenware with terra sigillata decoration, Cyprus, Cesnola Painter, Late Geometric period, 725-700 BCE This krater used as a funerary marker, differs in a number of ways from other monumental Geometric kraters from Attica. Its shoulder is subdivided by four handles, rather than two, and its intricate decoration was applied over a light ceramic slip ground instead of directly on the clay. Decorated pottery was made on the fast wheel and the quality of Greek clay allowed the production of very fine-walled wares, some almost eggshell thin. Most however were as stout and practical as was required by their function. Shapes are generally taut and seem almost mathematically inspired. Patterns probably derived from those natural to weaving or basketry. The Cesnola painter was a robust geometric figure style painter. This krater, which is his name vase, was found in Cyprus and displays his innovations; goats at a tree, rows of linked blobs or concentric circles, horses, and angular winged birds.  Vase, Hispano-Mooresque, Lustre-ware, Tin-Glazed Earthenware, original: 57 cm. w. x 52.7 cm. h., Valencia Spain, 1440-1470 CE Hispano-Mooresque wares made during the Moorish occupation of Spain in the 8th century were earthenware pieces covered with white, opaque glaze made of tin. This glazing technique, know as majolica, served as a base for painting details and designs, often quite brilliant colors and copper-golden lustres were applied. The high, flat, winged handles mark the vase as a decorative object with no obvious functional use, its purpose having been simply to celebrate the skills of the potter. The original piece was wheel thrown with slab built additions, my piece was constructed in the same manner. I used a tin glaze and finished it with a copper lustre.  Vase, Hispano-Mooresque, Lustre-ware, Tin-Glazed Earthenware, original: 57 cm. w. x 52.7 cm. h., Valencia Spain, 1440-1470 CE Hispano-Mooresque wares made during the Moorish occupation of Spain in the 8th century were earthenware pieces covered with white, opaque glaze made of tin. This glazing technique, know as majolica, served as a base for painting details and designs, often quite brilliant colors and copper-golden lustres were applied. The high, flat, winged handles mark the vase as a decorative object with no obvious functional use, its purpose having been simply to celebrate the skills of the potter. The original piece was wheel thrown with slab built additions, my piece was constructed in the same manner. I used a tin glaze and finished it with a copper lustre.  Vase, Hispano-Mooresque, Lustre-ware, Tin-Glazed Earthenware, original: 57 cm. w. x 52.7 cm. h., Valencia Spain, 1440-1470 CE Hispano-Mooresque wares made during the Moorish occupation of Spain in the 8th century were earthenware pieces covered with white, opaque glaze made of tin. This glazing technique, know as majolica, served as a base for painting details and designs, often quite brilliant colors and copper-golden lustres were applied. The high, flat, winged handles mark the vase as a decorative object with no obvious functional use, its purpose having been simply to celebrate the skills of the potter. The original piece was wheel thrown with slab built additions, my piece was constructed in the same manner. I used a tin glaze and finished it with a copper lustre.  Vase, Hispano-Mooresque, Lustre-ware, Tin-Glazed Earthenware, original: 57 cm. w. x 52.7 cm. h., Valencia Spain, 1440-1470 CE Hispano-Mooresque wares made during the Moorish occupation of Spain in the 8th century were earthenware pieces covered with white, opaque glaze made of tin. This glazing technique, know as majolica, served as a base for painting details and designs, often quite brilliant colors and copper-golden lustres were applied. The high, flat, winged handles mark the vase as a decorative object with no obvious functional use, its purpose having been simply to celebrate the skills of the potter. The original piece was wheel thrown with slab built additions, my piece was constructed in the same manner. I used a tin glaze and finished it with a copper lustre. Commedia dell' Arte Figurine, Hard-Paste Porcelain, Original: 18.4cm, Germany, Meissen Factory, Original Artist: J.J. Kaendler, 1740 CE  Commedia dell' Arte Figurine, Hard-Paste Porcelain, Original: 18.4cm, Germany, Meissen Factory, Original Artist: J.J. Kaendler, 1740 CE The Meissen factory was the first true porcelain producer in Europe. The factory was funded by Augustus the Strong. Johann Joachim Kaendler wassculptor at Augustus's court. In 1731, Augustus installed him at Meissen to reorganize the modeling department. For the next 44 years Kaendler's artistic genius, versatility and imagination brought the factory world renown. These figurines were originally modeled out of wax, and then slip-cast. The intricate painting details were achieved with china paints. My piece has been modeled directly out of porcelain, painted with under-glazes and sprayed with a glossy transparent glaze.  Commedia dell' Arte Figurine, Hard-Paste Porcelain, Original: 18.4cm, Germany, Meissen Factory, Original Artist: J.J. Kaendler, 1740 CE The Meissen factory was the first true porcelain producer in Europe. The factory was funded by Augustus the Strong. Johann Joachim Kaendler wassculptor at Augustus's court. In 1731, Augustus installed him at Meissen to reorganize the modeling department. For the next 44 years Kaendler's artistic genius, versatility and imagination brought the factory world renown. These figurines were originally modeled out of wax, and then slip-cast. The intricate painting details were achieved with china paints. My piece has been modeled directly out of porcelain, painted with under-glazes and sprayed with a glossy transparent glaze.  Commedia dell' Arte Figurine, Hard-Paste Porcelain, Original: 18.4cm, Germany, Meissen Factory, Original Artist: J.J. Kaendler, 1740 CE The Meissen factory was the first true porcelain producer in Europe. The factory was funded by Augustus the Strong. Johann Joachim Kaendler wassculptor at Augustus's court. In 1731, Augustus installed him at Meissen to reorganize the modeling department. For the next 44 years Kaendler's artistic genius, versatility and imagination brought the factory world renown. These figurines were originally modeled out of wax, and then slip-cast. The intricate painting details were achieved with china paints. My piece has been modeled directly out of porcelain, painted with under-glazes and sprayed with a glossy transparent glaze.  Christopher Watt grew up in Vancouver, British Columbia. He began his studies at Kootenay School of the Arts where he earned a three year diploma with a major in Ceramics. In Decemeber he will graduate with a BFA from NSCAD University. After graduation Christoper will design his ceramic wares with hopes to have them produced by industry. |
