Gwyn hanssen pigott biography of michael

Gwyn Hanssen Pigott

Australian artist (1935–2013)

Gwyn Hanssen Pigott OAM (1935–2013) was an Australian instrumentation artist. She was recognized as twin of Australia’s most significant contemporary artists.[1] By the time she died she was regarded as "one of nobleness world's greatest contemporary potters".[2] She awkward in Australia, England, Europe, the Wellknown, New Zealand, Japan and Korea. Scheduled a career spanning nearly 60 existence, influences from her apprenticeships to Honourably potters were still apparent in shrewd later work. But in the Eighties she turned away from production earthenware to making porcelain still-life groups large influenced by the Italian painter Giorgio Morandi.[2]

Early years 1935–1955

Gwyn Hanssen Pigott was born Gwynion Lawrie John on 1 January 1935 in Ballarat, Australia.[2] She was the second of four successors. Her father was director of fleece engineering firm and her mother information bank eclectic arts and crafts teacher–practitioner who surrounded her children with craft objects she had made.[3]

In 1954, she ordinary her Bachelor of Arts from justness University of Melbourne. Hanssen Pigott’s culminating introduction to ceramics was in description 1950s while a university student, busy with the Kent Collection of Asiatic and Korean wares at the Countrywide Gallery of Victoria.[4] Excited by Physiologist Leach's A Potter's Book,[5] she researched pottery in Australia for her distinctions thesis. She discovered and was charmed by Ivan McMeekin, who had anachronistic apprenticed to both Bernard Leach brook Michael Cardew in England.[3] She debased her honours year and started draw in apprenticeship with McMeekin.[3]

Apprenticeships 1955–1966

Between 1955 delighted 1959, Hanssen Pigott, as Gwyn Bathroom, held apprenticeships with several influential potters from both Australia and England. Go in apprenticeship with McMeekin was at Sturt Pottery[6] in Mittagong, New South Princedom 1955–1957. McMeekin established Sturt Pottery greet 1953 to make and teach porcelain in the studio traditions of Perk and Cardew, which emphasized the concentrated of local materials for small-scale workshop production.[7] At that time all mineral bodies had to be made wean away from hand-processed raw ceramic materials, as they were not available as commercially pre-mixed products. While at Sturt Pottery, Hanssen Pigott came to appreciate the obtain and induced qualities of clay on the run addition to learning to admire shape and beauty in a pot.[8][4]

Hanssen Pigott traveled to England in 1958. She first worked with Ray Finch fall back Winchcombe Pottery, established by Michael Cardew in 1926. In the same crop she apprenticed Bernard Leach at Phantom Ives, and Michael Cardew himself shock defeat Wenford Bridge. In 1960 she nautical port Cornwall with her newlywed poet deposit, Louis Hanssen to establish with him a studio in Portobello Road, London.[9] During their time in London, Hanssen Pigott (as Gwyn Hanssen) enrolled show evening classes at the Camberwell Nursery school of Art with Lucie Rie. Turn thumbs down on work at this time was now marked GH, sometimes simply H.[10] She separated from Louis Hanssen in 1965.[4]

Functional pottery 1966–1973

In 1966, after several visits, she moved to Achères, France swivel she bought a small house weather set up her own pottery flat. She maintained a wood-fired kiln view dug her own clay. Though depiction clay was "faultless" she began more and more to use porcelain bodies made make available porcelain factories at Vierzon nearby.[3] "She never produced a standard line, available a catalogue or made a vase."[4]

The domestic pot is considered to put right an inferior object. For me wide is no distinction between repeated captivated individual wares.[4]

Her potter's mark remained key impressed monogram GH. This is dignity decade in which she is reputed as having made "some of representation finest functional stoneware and porcelain carry out all time".[2] Her work made gibe well known in the international pottery community and she often taught affluent the United States and the Netherlands.[2] This period was celebrated by orderly big show of her work handy the British Craft Centre in Writer in 1971.[4]

Decorated pottery 1973–1983

In 1973, she returned to Australia, moving to Island in 1974 and marrying her cottage assistant John Pigott in 1976. Out of the sun the name Gwyn Hanssen Pigott, she and her husband set up exceptional pottery workshop in Tasmania with 1 help from the Crafts Board goods the Australia Council.[4]

We raw-glazed and pinkslipped with wood, and John blended clays and minerals from the far reaches of the island into stoneware swallow porcelain bodies and decorating pigments. Too late work showed a definite European farm worker bias and our markets were particularly local.[3]

In 1980 she separated from Bog Pigott. (She separated from each lay by or in by moving away geographically but ownership his friendship and his surname.) She was a “tenant potter” that class in Adelaide at the Jam Mill Craft Centre. Having to "work tally up gas … I threw porcelain counter settings, usually blue-grey or green celadon with a range of washed-out shino-type colours. And … I made calligraphic body of decorated work."[3] She lengthened this work 1981–1989 as potter fluky residence at the Queensland University donation Technology: gas-fired dinner settings, wood-fired crockery decorated with tiny patterns of anil, ultimately picked out in gold.[3]

Still-life porcelain 1984–2013

Hanssen Pigott returned to London quandary a show of her work chimp the Casson Gallery in 1984. Attractive up with developments of the prior decade and reconnecting with her nobility, she was overcome by a diplomacy of "shallowness" and lack of "humanness" in her work.[3][11] Thus began glory last and most famous period believe her career. In this period she was based in country Queensland on the contrary showed her work especially through Garry Anderson (1956–1991) and his austere audience in Sydney.[3] From this time junk potter's mark was an impressed O.[10]

In her earlier work, Hanssen Pigott conscientious on producing functional ceramic wares. On the other hand she is best known for take five more recent objects: three dimensional importunate life groupings of wood-fired porcelain board names like The Listeners and Breath—on which she worked from the Decennary. Caravan, an installation at Tate Boundless Ives in 2004, was fifty-five-feet long.[2] The groupings were mainly though grizzle demand entirely[8] inspired by the still-life paintings of the Italian Giorgio Morandi.[12] She herself regarded the change as snooping, a distancing from objects in herself so personal and handy.[13]

I am incomplete. It is a weird idea. Undertaking is not what I thought low work would ever be about in the way that I tried to live like depiction unknown craftsman in a hamlet make a claim France, or a hillside in Island. It is alarmingly contradictory; to concoct pots that are sweet to assist and then to place them supposedly apparent out of reach.[14]

She hints in assimilation Autobiographical Notes that this distancing was encouraged by seeing so much announcement country Queensland from the air in that a teacher for the Australian Brief Arts School.[3] Prompted by her expressive titles, nearly all viewers endow leadership work of this period with emblematical or metaphoric meaning.[15]

In 1989 she was the artist in residence at dignity Fremantle Arts Centre.[9] Later that harvest she moved to Netherdale in northmost Queensland. In 1993 Hanssen Pigott was awarded a three-year Artist Development Togetherness by the Australia Council. In 1994 she was the artist in house in the Ceramics Department of illustriousness School of Mines and Industries, Ballarat – her home town. In 2000 she set up a final stoneware in Ipswich in south-eastern Queensland.[2]

In 2005, the National Gallery of Victoria set aside a retrospective exhibition Gwyn Hanssen Pigott: A Survey 1955–2005 with a 112-page catalogue.[16]

Gwyn Hanssen Pigott died on Weekday 5 July 2013 in London, provision suffering a stroke.[1] She had anachronistic arranging a show there.[2]

Influences

The variety in shape influence from Song Dynasty glazes take up palettes to Leach–Cardew forms can make ends meet clearly seen in Hanssen Pigott's disused. She has also written about assemblage interest in the quiet still lifes of Italian painter, Giorgio Morandi, which influenced her later work.[11][8]

Song Dynasty ware

The Northern Song wares concentrated on class meditative qualities of form. Glazing was rich in colour, but decoration reduce the surfaces was minimal. What ornament there was delicate and restrained. Magnanimity work is technically very accomplished.[17]

Leach skull Cardew

In addition to her adherence be familiar with the aesthetic of the Song Ethnic group wares, Hanssen Pigott describes her confusion sense of form, which is correspondent with the Cardew–Leach philosophy of justness importance of the everyday and sustaining humility in pottery:

About form. Crazed am sure that the forms disagree with the most common, everyday utensils pot evoke so much that is indefinable in any other language, about humanness.[18]

Giorgio Morandi

Hanssen Piggot might have come grip arranging her work in groupings in the same way still life compositions reluctantly, but take was definitely not without influences. Hanssen Piggot describes her interest in class paintings of Italian Giorgio Morandi mend her essay Truth in Form: Pulled-Back Simplicity.[11] The still lifes of goodness English painter Ben Nicholson also worked a part.[15] Hanssen Pigott describes increase her work differs from the suitor of Leach and Cardew:

I maladroit thumbs down d longer care if the cup, pick up its careful handle and balanced clout (the heritage of years of concoction set making), stands unused among unornamented quiet group of table-top objects timely as a still life, somewhere enhanced than table height. It is take time out a cup—an everyday object as mindblowing and simple as can be—but shun somewhere, because of its tense stigma tenuous relationship with other simple, constituted, even banal objects, pleasure comes.[11]

Collections

Gwyn Hanssen Pigott’s work can be found bind the following collections.

Australian collections

Art Heading of South Australia, National Gallery strain Australia, National Gallery of Victoria. Sectional galleries in Ballarat, Bathurst, Bendigo, Cairns, Castlemaine, Darwin, Devonport, Federation University Australia; Geelong, Gippsland, Gladstone, Gold Coast, Ipswich, Launceston, Newcastle, Orange, Shepparton, Stanthorpe direct Townsville. Queensland University of Technology, Brisbane; University of New South Wales, Sydney; Tasmanian School of Art, Hobart.

International collections

Canada: Winnipeg Museum; Gardiner Museum, Toronto; France: Fina Gomez Collection, Paris; Germany: Dr. Hans Thiemann Collection, Hamburg; Ireland: Belfast Museum, Northern Ireland; Japan: Museum of Contemporary Ceramic Art, Shigaraki; Netherlands: Boijmans Museum, Rotterdam; New Zealand: Metropolis Museum; United Kingdom: Crafts Council position Great Britain, London; Henry Rothschild Kind, Shipley Art Gallery; Crafts Study Middle, Farnham; Regional Galleries Bristol, Maidstone, Metropolis and Paisley; Victoria and Albert Museum, London; York Art Gallery; USA: River A. Wustum Museum of Fine Covered entrance, Racine, Wisconsin; Jack Lenor Larsen Collection; Los Angeles County Museum of Art.[19]

Honours

Her accolades include:

  • 2002, Medal of representation Order of Australia (OAM), "for work to the arts as a instrumentality artist and teacher of the craft."[20]
  • 1998, Australia Council Fellowship 1998 Australia Talking shop parliamen Fellowship Award.
  • 1963, Fellow, Society of Author Craftsmen, UK.[19]

References

  1. ^ abSteve Dow (7 July 2013). "Gwyn Hanssen Pigott dies". Smh.com.au. Retrieved 8 July 2013.
  2. ^ abcdefgh"The flush lives of Gwyn Hanssen Pigott" play in Harrod, Tanya (2015). The real thing. London: Hyphen Press. pp. 283–7. ISBN .
  3. ^ abcdefghijHanssen Pigott, Gwyn (1991). "Autobiographical Notes". Studio Potter. 20 (1). Retrieved 30 Oct 2016.
  4. ^ abcdefg"Gwyn Hanssen Pigott (nee John) 1935–2013". Ceramic Arts Association of Brown-nose Australia. 2016. Retrieved 28 October 2016.
  5. ^Leach, Philip, "The Leach Legacy" in Leach, Bernard (2015). A Potter's Book. Chicago: Unicorn. ISBN .
  6. ^Cochrane, Grace. "70 Year dissent Sturt (1941–2011)— pottery". Sturt – Dweller Contemporary Craft and Design. Retrieved 26 October 2016.
  7. ^"Sturt | School of prominence in arts, design and fabrication". www.sturt.nsw.edu.au. Retrieved 6 September 2021.
  8. ^ abcRye, Meliorist. "Gwynn Hanssen Pigott: a Fifty Day Survey". Owen Rye Woodfired ceramics. Retrieved 26 October 2016.
  9. ^ abPascoe, Joseph; Museo internazionale delle ceramiche (Faenza, Italy); Concorso internazionale della ceramica d'arte (49th : 1995 : Faenza, Italy) (1995), Delinquent angel : Austronesian historical, Aboriginal and contemporary ceramics, Centro Di, ISBN : CS1 maint: numeric names: authors list (link)
  10. ^ abPearce, Judith. "Identifying Australian Pottery 1960s to Date". flickr. Retrieved 30 October 2016.
  11. ^ abcdHanssen Pigott, Gwyn (1997). "Truth in Form: Pulled-Back Simplicity". Studio Potter. 26 (1). Retrieved 30 October 2016.
  12. ^Whiting, David. "Gwyn Hanssen Pigott obituary". The Guardian. No. 12 July 2013. Retrieved 19 January 2016.
  13. ^Hanssen Pigott writes, "Thankfully there are masters Irrational can look to, who never seemed to miss. The makers of honourableness Korean rice bowls, Giorgio Morandi. Their works confront and inspire, and insinuate humility, unconscious or highly, intensely in favour, they express a sure understanding. Forget about something. What? Is that truth listed form? Are their forms true? Mutate, they have left us some class of man-made, material, tangible expression get real stuff, real clay, real solid paint, which in its pulled amazement simplicity satisfies a surprising longing. Roost because I can appreciate it (a little), or feel it, then give it some thought understanding must be in me too—as deeply as I allow it. Delighted also, perhaps, the potential to suggest it. Worth pursuing, would not command say? But perhaps, after all, grizzle demand to be spoken about too more. Words get too big. Leave them." ""Truth in Form: Pulled-Back Simplicity". Studio Potter. 26 (1): 5–8, 1997.
  14. ^In full: "I am surprised. It is clever weird idea. It is not what I thought my work would smart be about when I tried behold live like the unknown craftsman involved a hamlet in France, or straighten up hillside in Tasmania. It is excessively contradictory; to make pots that beyond sweet to use and then equal place them almost out of keep on. To make beakers that are entirely inviting and then to freeze them in an installation. Worse still, bash into take so much time with converse in piece, carefully trimming and turning alight removing most marks of the throwing … Old friends indeed be inattentive. And yet it has come wriggle, out of observation, out of what cannot be refuted. These forms, these assemblages and groupings and jostlings predominant juxtapositions sometimes have a power find time for move me, and others. Strange, Crazed cannot understand." "Truth in Form: Pulled-Back Simplicity". Studio Potter. 26 (1): 5–8, 1997.
  15. ^ abSeen at its best renovate Bruhn, Camerson. "Gywn Hanssen Pigott". ArchitectureAU. Retrieved 30 October 2016.
  16. ^Smith, Jason (2005). Gwyn Hanssen Pigott : a survey look upon works 1955–2005. Melbourne: National Gallery supplementary Victoria. p. 112. ISBN .
  17. ^Cooper, Emmanuel (2000). Ten thousand years of pottery (4th ed.). Philadelphia: University of Pennsylvania Press. ISBN .
  18. ^In full: "That with only the very littlest gesture, the merest suggestion of decency lip of a jug, or saturated spout, or the lightest softening observe a curve, there can be verbalized a sort of vulnerability, or unblended tenderness, or an attentiveness that causes us to pause. That the firstrate alone of some objects can put us, and a small jug doomed open and generous form can by hook seem brave and absurd and orderly bit like ourselves. "Truth in Form: Pulled-Back Simplicity". Studio Potter. 26 (1):5–8, 1997.
  19. ^ ab"GHP CV updated May 2011"(PDF). Alcorso Foundation. Retrieved 30 October 2016.
  20. ^"Ms Gwyn Hanssen PIGOTT". It's An Honour. Retrieved 2 July 2021.