GWYN HANSSEN PIGOTT

摘要

While earlier reviewers have referred to the domestic calm of Georgio AAorandi's still life drawings as an influence on the ceramic compositions of Australian potter Gwyn Hanssen Pigott, the stillness and modesty of her earlier groupings was less evident in the work exhibited in this exhibition, on show during the Edinburgh Festival. Each group reflected confidence and sophistication, a precise concern for the intervals and clusters within its composition, and a fine awareness of subtleties in profile, tone and sensual surface.