Ceramics by Tina Vlassopulos

graceful and enigmatic vessels

Project Specs


非常感谢设计方 Tina Vlassopulos 将项目介绍和项目图片授权gooood发行。更多请至:Tina Vlassopulos on gooood
Appreciation towards Tina Vlassopulos for providing the following description:



Vlassopulos在她的陶土作品中添加各种氧化物,形成土红色以及其它的清凉色调:蓝色,白色,淡紫色,蛋壳色。她的作品皆为手工打造,每一个都有着自己在形式和表达上的独特探索。 利用各种金属器皿细细修饰作品,漫长的创作过程以及认真的创作态度产生了这样的作品。在最后进行烧制时,仍不排除作品破裂和失败。但她说:最困难的时候可以产生新思路。她的作品饱含矛盾。寂静,谨慎,正派,积极但又膨胀,紧绷,无教条,不妥协。这些要素轻轻的融和在一起,抛开那些长篇大论的艺术语汇,组成这个作品特有的鲜明性格和理念。  


A Simple Line – A Simple Form

Vlassopulos’ work is indeed deceptively simple, as if the artist had mastered the secret of gently persuading the near-impossible to balance. Her graceful and enigmatic vessels adopt somewhat unlikely postures and unusual angles, as if flirting with expected boundaries. They seem to arc and bend effortlessly in a manner which belies the complexity of their construction.

Vlassopulos habitually uses terracotta or stoneware, to which she often adds oxides; rich earthy reds contrast with the subtle, cool shades of blue, off-white, lavender and egg- shell. Each work is hand-built, an intensive process which can take up to a week for each pot. Sometimes she starts her pieces by press-moulding (usually a bowl shape), followed by coiling and/or soft-slabbing. Vlassopulos works on several pieces at a time, exploring different aspects of expression and form as each creation develops its own unique trajectory.

The journey to completion is lengthy; the pieces are scraped with a combination of surform blades and metal kidneys, smoothed with wooden ribs, burnished with a metal spoon, and finally polished with a piece of polyethylene around her finger…Though her approach is rigorous, Vlassopulos is unsentimental about the limitations of the medium, Conceding, “A lot of things can go wrong along the way, an impurity in the clay can ruin the surface and only shows up once the pot has been fired.” Each satisfactorily completed work imposes aesthetic challenges of its own, “The most difficult part is coming up with new ideas”’ she reflects.

There is a paradoxical quality inherent in Vlassopulos’ sculpture; animation within stillness, intimate yet remote, expansive but contained, both emotive and discreet, dignified but somehow slinky, uncompromising but never dogmatic, confident as opposed to severe, witty not arch. Vlassopulos’ work suggests possibilities and interplay, as opposed to making strident statements.

Vlassopulos’ minimalist work expresses the conviction borne of a distinctive and recognisable style, an artistic vocabulary with no need for recourse to the verbose or elaborate.

Inga Walton





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