Monday, 14 March 2011

And this work from the show ...

Peter Biddulph has used Australian Southern Ice porcelain renowned for its whiteness and translucency in this new collection of vessels for drinking sake or spirits. The cups, guinomi, differ in form, surface treatment and glaze, but all have the fluid, soft-shaped tripod base that endows the works with a kind of slowness.

The source objects for the guinomi were created as digital 3D forms before being rendered as physical objects using rapid prototyping technology. Casts taken from these generated objects were used to create the vessels using liquid porcelain, sometimes mixed with oxides, in a slip cast process. Exterior surfaces are often unglazed and always hand polished to give a smooth, undulating surface to fit comfortably into the hand. The interiors are glazed with clear, rare earth, or ice blue celadon glazes. The guinomi are complemented with sake flasks, tokkuri, created using the same materials and processes.

Here are some images of how the work looks in the exhibition:

You can see more images of the guinomi at  


  1. The idea of Pace in relation to reading and making artworks is an interesting one. When I first heard the curator talking about "slow" artworks I nodded and thought I knew what that meant. Over time I started thinking .. aren't all artworks slow?? ... and was really thinking of only the making of them. I expanded the idea to include ... slow in making, slow in decision making, slow in looking, slow in making connections within the work and slow for the artwork to reveal meaning(s).

    I also thought that there is often more than one pace used in the making and re-making of works as there is also in looking. I often whiz around an exhibition quickly to get a sense of the whole and then re-trace my steps and take time with individual works.

    Talking with the curator we also wondered if all slow works were necessarily quiet and therefore fast work noisy?? Cy Twombly came to mind ... someone who's work is very quiet but made with fast frantic marks.

  2. Oops, i got carried away and forgot to say I really loved the smaller works of Peters ... the very Catholic (plainer outsides/ jewel like centres) not quite cup/teeth shapes with the melting legs/pivot points. Slow to make and very slow to view/compare/classify & also perfectly placed ... for my short legs eye level!

  3. Thanks Verb. for your thoughts - I've certainly found that its only when I am actually doing a project (over time) that I've been able to define and understand a bit more about the idea that it began with. For me a good idea for a project is something I'm wondering about - and to work with good people.