Ursula Morley-Price is born in Great Britain in 1936. She was taught at the Academy of Camberwell Slade University College, London. She is living and working in Brighton and in France. Her interest in ceramics has been aroused after visiting the pottery of Bernard Leach in St Ives (Cornwall). Ursula Morley-Price has made fairly much exhibitions in France, England and United States. Her work is presented in many important museums like the New York Metropolitan Museum, the New York Museum of Arts and Design, the Musée des Arts Décoratifs in Paris and the museum in Sévres.
Technique
The work of Ursula is fully constructed by hand. The clay she is using is a stoneware clay from the Puisaye (FR). The biscuit is fired at 1080°C. Until 2010 she fired in a gasoline kiln with reversed flame. Today she is working with an electric kiln. The glazing in done between 1220° and 1240° C. Ursula is preparing the glazes herself: white, greys, yellows, browns and bronzes.
Work of the artist:
"Her work could fool the viewer into thinking she is influenced by marine life ... not so! As she clearly states in her biography, it is the very movements she gives her pieces that give these organic shapes the feelings they ignite in the observer."
"In 2010 Ursula Morley Price has revisited sculptural elements from previous work, some recent, some decades-old, leading to dynamic developments and new combinations. Price exhibited “fountain” forms two years ago, which employed elegantly flared flanges and smooth edges to mimic the graceful fluidity of water slipping over the edges of a container. Her current fountain forms are equally balanced, but much more energetic. With dramatically arched flanges and spiked edges, they suggest forceful spray frozen in time or the wet plumage of a bird shaking its wings while bathing. A spherical pom-pom shape used by Price in the 1980s has been similarly reinterpreted and visually energized. The original longitudinal flanges now have pronounced waves, especially near the equator of each piece. The strong undulations create directional patterns of shadow and light that repeatedly draw the eye back and forth. Price incorporates similar wave patterns into taller sculptures, some of which are capped with mouth-like openings. In many of the current sculptures, the openings swell to resemble an egg or elongated dome. These developments have led Price to her newest tall form, which she calls Grace Bulbous Form, characterized by the complex rippling and undulation of the flanges and its assertive scale. She continues to work with monochromatic glazes here, creamy yellows and pale whites, rich dark browns, and a silvery green "bronze" color, all possessing a distinctive matte surface texture. As in the past, her forms are created with the traditional pinch-and-coil method, beginning with a vessel armature which is spatially articulated using her signature, paper-thin flange elements." Text Mc Kenzie Fine Art New York 2010
Bibliography:
Ursula Morley-Price, June 2013 (ISBN 978-2-9539689-27), Edition by Galerie de l'Ancienne Poste.
Catalogue of the exhibition of works by Morley-Price in June 2013 in Musée d'Art moderne de Troyes.
Ursula Morley-Price is born in Great Britain in 1936. She was taught at the Academy of Camberwell Slade University College, London. She is living and working in Brighton and in France. Her interest in ceramics has been aroused after visiting the pottery of Bernard Leach in St Ives (Cornwall). Ursula Morley-Price has made fairly much exhibitions in France, England and United States. Her work is presented in many important museums like the New York Metropolitan Museum, the New York Museum of Arts and Design, the Musée des Arts Décoratifs in Paris and the museum in Sévres.
Technique
The work of Ursula is fully constructed by hand. The clay she is using is a stoneware clay from the Puisaye (FR). The biscuit is fired at 1080°C. Until 2010 she fired in a gasoline kiln with reversed flame. Today she is working with an electric kiln. The glazing in done between 1220° and 1240° C. Ursula is preparing the glazes herself: white, greys, yellows, browns and bronzes.
"Her work could fool the viewer into thinking she is influenced by marine life ... not so! As she clearly states in her biography, it is the very movements she gives her pieces that give these organic shapes the feelings they ignite in the observer."
"In 2010 Ursula Morley Price has revisited sculptural elements from previous work, some recent, some decades-old, leading to dynamic developments and new combinations. Price exhibited “fountain” forms two years ago, which employed elegantly flared flanges and smooth edges to mimic the graceful fluidity of water slipping over the edges of a container. Her current fountain forms are equally balanced, but much more energetic. With dramatically arched flanges and spiked edges, they suggest forceful spray frozen in time or the wet plumage of a bird shaking its wings while bathing. A spherical pom-pom shape used by Price in the 1980s has been similarly reinterpreted and visually energized. The original longitudinal flanges now have pronounced waves, especially near the equator of each piece. The strong undulations create directional patterns of shadow and light that repeatedly draw the eye back and forth. Price incorporates similar wave patterns into taller sculptures, some of which are capped with mouth-like openings. In many of the current sculptures, the openings swell to resemble an egg or elongated dome. These developments have led Price to her newest tall form, which she calls Grace Bulbous Form, characterized by the complex rippling and undulation of the flanges and its assertive scale. She continues to work with monochromatic glazes here, creamy yellows and pale whites, rich dark browns, and a silvery green "bronze" color, all possessing a distinctive matte surface texture. As in the past, her forms are created with the traditional pinch-and-coil method, beginning with a vessel armature which is spatially articulated using her signature, paper-thin flange elements." Text Mc Kenzie Fine Art New York 2010
Object(en) van de keramist: