Shauna MacLeod
Biography
Artist Statement
East Asia
Africa/Egypt
Europe
The Mediterranean
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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.
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.
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.
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.
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.
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.
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.
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.
Female Figure with Incurving Arms, Terra cotta clay, Predynastic Egypt, Middle Naquada II, 3500-3100 BCE
With the beaklike faces that were common of statuettes of this period, these figures have earned the nickname of “Bird Lady”. The symbolism, function, and identity of the figures are not certain. However similar female figures painted on Pre-dynastic vessels appear to be goddesses, because they are always larger than the male “priests” shown with them.
Sgraffito Harvest Jug, Red earthenware with lead glaze, West County, England, 1764 CE
The high contrast between the brick red clay and the bright white slip helps to achieve a dramatic effect with the yellow glaze. Production of this style flourished in West County, Somerset, North Devon, South Wales, as these ports became the focus of trade areas. These wares were rare in that they were twice fired. These harvest jugs were originally intended for carrying beer to harvesters working in the fields. They often included rhymes, dates and names of the makers. There were symbolic and popular motifs like tulips, trefoil shaped flowers, hearts, sunbursts, facemasks and stylized birds.
Sgraffito Harvest Jug, Red earthenware with lead glaze, West County, England, 1764 CE
The high contrast between the brick red clay and the bright white slip helps to achieve a dramatic effect with the yellow glaze. Production of this style flourished in West County, Somerset, North Devon, South Wales, as these ports became the focus of trade areas. These wares were rare in that they were twice fired. These harvest jugs were originally intended for carrying beer to harvesters working in the fields. They often included rhymes, dates and names of the makers. There were symbolic and popular motifs like tulips, trefoil shaped flowers, hearts, sunbursts, facemasks and stylized birds.
Sgraffito Harvest Jug, Red earthenware with lead glaze, West County, England, 1764 CE
The high contrast between the brick red clay and the bright white slip helps to achieve a dramatic effect with the yellow glaze. Production of this style flourished in West County, Somerset, North Devon, South Wales, as these ports became the focus of trade areas. These wares were rare in that they were twice fired. These harvest jugs were originally intended for carrying beer to harvesters working in the fields. They often included rhymes, dates and names of the makers. There were symbolic and popular motifs like tulips, trefoil shaped flowers, hearts, sunbursts, facemasks and stylized birds.
Sgraffito Harvest Jug, Red earthenware with lead glaze, West County, England, 1764 CE
The high contrast between the brick red clay and the bright white slip helps to achieve a dramatic effect with the yellow glaze. Production of this style flourished in West County, Somerset, North Devon, South Wales, as these ports became the focus of trade areas. These wares were rare in that they were twice fired. These harvest jugs were originally intended for carrying beer to harvesters working in the fields. They often included rhymes, dates and names of the makers. There were symbolic and popular motifs like tulips, trefoil shaped flowers, hearts, sunbursts, facemasks and stylized birds.
Sgraffito Harvest Jug, Red earthenware with lead glaze, West County, England, 1764 CE
The high contrast between the brick red clay and the bright white slip helps to achieve a dramatic effect with the yellow glaze. Production of this style flourished in West County, Somerset, North Devon, South Wales, as these ports became the focus of trade areas. These wares were rare in that they were twice fired. These harvest jugs were originally intended for carrying beer to harvesters working in the fields. They often included rhymes, dates and names of the makers. There were symbolic and popular motifs like tulips, trefoil shaped flowers, hearts, sunbursts, facemasks and stylized birds.
Female Figure, Terra Cotta clay, Mycenean III, 1200-1100 BCE
Most of the clay figurines made in Greece during the Mycenean III period are female and seem to represent goddesses. Many of them are crowned, wear long dresses and stand in conventional poses with hands raised, resting on hips or held between the breasts. Some were found in sanctuaries, used as votive offerings or in tombs, where they may have served as protective goddesses. The original was probably wheel thrown with a buff earthenware clay The decoration was done with terra sigillata and fired to a low temperature.
Bowl, Dingware, White porcelain and celadon glaze, China, Sung Dynasty, 960-1279 CE
Ding ware, so named for the place it was made, currently called Quyangxian in Hebei province. This bowl is from Northern Sung Dynasty 960-1126. They were fired in a simple single-chamber kiln with rounded dome, down draught and coal burning. Potting techniques were very sophisticated during this period with thin walled bowls, finely finished lips and elegantly fashioned foot rings. Glaze was a transparent celadon glaze that had a slight ivory tinge. Fired in saggars (a ceramic container that the ware was fired in to protect it from gasses, flames or other debris) in a slightly oxidizing atmosphere. They were fired upside down with the mouth downward and resulted in a reduced and glazed foot ring. The unglazed edges after firing were then bound with copper. There were clean cut incised decoration of floral, ducks, fish in waves.
Globular Gloss Pot en Barbotine, Earthenware, Central Gaul, 175-200 CE
The Romans adopted the Greek technique of using a smooth iron rich slip glaze to coat a coarser body. Unlike the Greeks the Romans used a simpler clear oxidized firing which produced a glossy red finish rather than a glossy black. On this terracotta pot the leaping dears and stems were slip trailed and the leaves were made with a sprig mould.
Pedestal Bowl, Stoneware clay, Korean, Three Kingdom period, Kaya or Silla period, 5th-6th c. CE
High fired hard vitrified body. Many decorated with mottled ash glazes. Pedestal/ mounted cups were used for food and drink.
Pedestal Bowl, Stoneware clay, Korean, Three Kingdom period, Kaya or Silla period, 5th-6th c. CE
High fired hard vitrified body. Many decorated with mottled ash glazes. Pedestal/ mounted cups were used for food and drink.
Shrine Head, Terracotta clay, Ife, African, 12-14th c. CE
Historically, African pottery was made by women, and this woman’s head is representative of a young Nigerian woman. The markings on her face perhaps represent the scarification that for the Ife culture was a common practice.
I am just completing my second year at NSCADU and will be declaring ceramics as my major. Two years ago the desire to work with clay led me to leave a fulfilling career in emergency health services to attend University full time. I had dabbled in pottery for a number of years previous but it was not until I attended NSCADU that I began to learn and grown in a way that allows me to express myself through clay. The tactility, sensibility and possibility is what has sustained this passion. My partner, Lisa is my biggest fan and without her patience and support I would not be able to dedicate myself to my work as I do.
This class has not only taught me the history of my medium throughout time but through the making of my seven objects gave me a broad range of experiences that I would not have normally. From the large scale of a Greek krater to the small delicate Chinese Ding-ware bowl, my encounter with these seven pieces left me with a strong sense of ability. I worked with porcelain, stoneware, red and white earthenware, glaze, terra-sigillata and even some sandblasting all to try and imitate these historical works. I enjoyed the diversity of the materials and sensibilities of each of the works, from figurative work to bowls and pots, it allowed me to explore many senses. I learned a lot about how to really look at the pieces in the photographs as I was trying to make them with such accuracy, it was a real lesson in looking. Even though my krater was destroyed in the kiln, I learned so much in the making of it that I still consider it a success. I learned from this class that I can tackle any project, and with enough research, time, energy and attention can accomplish anything. The combination of Julia and Margaret made for the success of this course. The complimented each other in such a unique way that all bases were covered. Sean O'Connell's help and support was immeasurable, it was such a gift to have him there with us.
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