Ceramic Mute Mix by Robert Stadler

Carwan Gallery presents a much-anticipated new commission by Paris-based designer Robert Stadler this September, inside Philip Johnson’s signature Glass...

Carwan Gallery presents a much-anticipated new commission by Paris-based designer Robert Stadler this September, inside Philip Johnson’s signature Glass...

Carwan Gallery presents a much-anticipated new commission by Paris-based designer Robert Stadler this September, inside Philip Johnson’s signature Glass...

Carwan Gallery presents a much-anticipated new commission by Paris-based designer Robert Stadler this September, inside Philip Johnson’s signature Glass...

For the OMG-GMO project, Robert Stadler borrows the forms of these engineered fruit and vegetables to create ten ceramic, hand-painted objects that ironically transform the organic into something structural and functional. Conceived as a series of small-scale monuments, these objects both criticise and mock human manipulation of nature: a slice of a Japanese rectangular seedless watermelon becomes a stool, zucchini bend in a perfect L shape to create a set of shelves, and wheel-like aubergines support a glass coffee table, as a reference to Gae Aulenti’s Tavolo...

For the OMG-GMO project, Robert Stadler borrows the forms of these engineered fruit and vegetables to create ten ceramic, hand-painted objects that ironically transform the organic into something structural and functional. Conceived as a series of small-scale monuments, these objects both criticise and mock human manipulation of nature: a slice of a Japanese rectangular seedless watermelon becomes a stool, zucchini bend in a perfect L shape to create a set of shelves, and wheel-like aubergines support a glass coffee table, as a reference to Gae Aulenti’s Tavolo...

France / 1965s Size : W110 D110 H135 mm ? Ceramic works by famous French ceramists Robert & Jean Clooutier. 60s vintage. Many of the artistic works created by the Cloutier br...

A glazed stoneware free form vase by American Ceramist Robert Chapman Turner (1913 - 2005) titled "Oshogbo Form III" circa 1970s. The piece was purchased in 1981 and held in the same collection since. The vessel is one of the classic forms with variations in Turner's repertoire since 1970s when he started to make non-functional abstract sculptural pieces. The vessel features an irregular hand-built form with surface markings and overall red glaze, inspired by his trips to Africa. Incised signature "Turner" on the base. "In 1971–72, drawn by the power of African sculpture, and wishing to imbue his work with a greater sense of universality, Robert Turner traveled to Nigeria and Ghana. The trip proved transformational. In West Africa he was deeply moved by the way in which art was ingrained in daily experience, and by the beauty of traditional forms of architecture, pottery, ceremonial objects, and decoration. After his return, Turner began to produce series of distinctive vessel types named after African kingdoms and peoples—Ashanti, Ife, Oshogbo, Akan. The first is a squat, lidded pot; the others are cone and cylinder shapes." Smithsonian American Art Museum Robert Turner's work is in numerous museum collections including the Smithsonian Museum of American Art, Los Angeles County Museum of Art and the Nelson-Atkins Museum of Art, Kansas City. For another example of the form similar to this piece, see page 40 in "Robert Turner Shaping Silence A Life in Clay" by Marsha Miro and Tony Hepburn.

A white stoneware vase by American Ceramist Robert Chapman Turner (1913 - 2005). Made between 1970-80s, the group of white-colored vessels with such a funnel form were called either Beach or Shore, obviously inspired by the ocean. Hand sculptured in a simple form with a neck opens to mouth that also can serve as a handle, the surface was always marked with artistic imperfection intended by the artist, such as incision and kiln bubble and burst. On this vase, the artist made several incision lines randomly, and also sparsely applied some tiny sand-like granules, adding a very subtle texture and allude to the scheme of the ocean. Incised signature "Turner" on the base. The vessel is one of the classic forms with variations in Turner's repertoire since 1970s when he started to make non-functional abstract sculptural pieces. Incised signature "Turner" on the base. "In 1971–72, drawn by the power of African sculpture, and wishing to imbue his work with a greater sense of universality, Robert Turner traveled to Nigeria and Ghana. The trip proved transformational. In West Africa he was deeply moved by the way in which art was ingrained in daily experience, and by the beauty of traditional forms of architecture, pottery, ceremonial objects, and decoration. After his return, Turner began to produce series of distinctive vessel types named after African kingdoms and peoples—Ashanti, Ife, Oshogbo, Akan. The first is a squat, lidded pot; the others are cone and cylinder shapes." Smithsonian American Art Museum Robert Turner's work is in numerous museum collections including the Smithsonian Museum of American Art, Los Angeles County Museum of Art and the Nelson-Atkins Museum of Art, Kansas City. Several examples of this series are illustrated in the book "Robert Turner Shaping Silence A Life in Clay" by Marsha Miro and Tony Hepburn...

Big plastic. Ceramics. Coarsely chamotted light material, surface structured and translucent gray-green, partially brownish. H. 122 cm. At the bottom inscribed: ST (carved)., Literat...

A glazed stoneware jar with lid by American Ceramist Robert Chapman Turner (1913-2005) entitled "Ashanti". The vessel was made in 1979 and was in...

A glazed stoneware jar with lid by American Ceramist Robert Chapman Turner (1913-2005) entitled "Ashanti". The vessel was made in 1974, purchased in 1978 and held in the same collection since. It was published in the artist's monograph as shown below. One of the classic forms with variations in Turner's repertoire since 1970s, the jar feature a slightly irregular form with numerous surface patching and markings under an overall black glaze with blue tint. The dome-shape lid has a cross-shaped handle with small markings. The form was inspired by Ashanti culture he observed during his trips to Africa. Incised signature "Turner" on the base. "In 1971–72, drawn by the power of African sculpture, and wishing to imbue his work with a greater sense of universality, Robert Turner traveled to Nigeria and Ghana. The trip proved transformational. In West Africa he was deeply moved by the way in which art was ingrained in daily experience, and by the beauty of traditional forms of architecture, pottery, ceremonial objects, and decoration. After his return, Turner began to produce series of distinctive vessel types named after African kingdoms and peoples—Ashanti, Ife, Oshogbo, Akan. The first is a squat, lidded pot; the others are cone and cylinder shapes." Smithsonian American Art Museum Robert Turner's work is in numerous museum collections including the Smithsonian Museum of American Art, Los Angeles County Museum of Art and the Nelson-Atkins Museum of Art, Kansas City. For this piece, see page 33 in "Robert Turner Shaping Silence A Life in Clay" by Marsha Miro and Tony Hepburn.