“Gathering Places Collage” (2015). All images © Frances Priest and by Shannon Tofts, shared with permission
Based in Edinburgh, artist Frances Priest merges stripes, chevron, and asanoha designs into impeccably complex motifs. Generally utilizing bold color palettes, Priest’s hand-built vases and bowls begin with sketches on paper before being transferred to test slabs of clay. The artist says she treats “the surface much like a sheet of paper,” as she inscribes each vessel using scalpels, patterns, and aluminum stamps.
The entirety of the piece is enveloped in the surface design so the works appear to wrapped in, or constructed out of pattern. I think it is a real treat to pick up an object and find that the base has been treated with the same care as the rest of the work, it makes the form complete and also allows for the group works to be re-arranged into different compositions.
Much of her intricate work is derived from The Grammar of Ornament by British architect Owen Jones, which her father gifted her as a child. The classic text focuses on ornamental design spanning multiple regions and periods. “I can distinctly remember spending hours as a child tracing the designs with my fingers, leafing from page to page and absorbing the visual languages on display,” Priest said in a statement. Her most recent vases from her Grammar of Ornament series directly reference the marble and tile mosaics found in the book’s Byzantine section, the artist tells Colossal.
Priest, though, doesn’t limit herself to representing only singular styles or eras. Her ongoing Gathering Places project serves as a collection “extracted from my sketchbook and collaged together into my own new designs—parquet, tiles, parasols, and swags. I use the title gathering places for all the half-sphere vessel forms because they are just that, places to gather together collections of decorative motifs,” she says. For example, “Architekten” is based on stark angles in buildings by the architecture firm Saurebruch Hutton, in addition to the natural foliage she discovered in illustrations of Vienna’s Villa Primavesi.
If you head to Instagram, you’ll find more of Priest’s elaborate ceramics, in addition to a coloring book she created that’s free to download.
“Gathering Places Collage” (2015)
“Chevron/Stripe/Asanoha” (2019)
“Gathering Places Architekten” (2014)
“Parquet & Yellow Dots” (2013)
Left: “Grammar of Ornament – Byzantine No. 3 Polychrome” (2020). Right: “Grammar of Ornament – Byzantine No. 3 Monochrome” (2020)
“Chevron/Stripe/Asanoha” (2019)
“Chevron/Stripe/Asanoha” (2019)
Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.
https://www.thisiscolossal.com/2020/04/frances-priest-ceramics/