Skip to main content

Ceramics by Christine Pedersen available at Toronto Outdoor Art Fair, exclusively online.

"Blue One". Unglazed blue porcelain vessel.
Christine Pedersen. 2023.

Toronto Outdoor Art Fair runs Friday July 12 - 14, 2024, and my ceramics will be available for sale exclusively online, find my profile here.

I’m thrilled to have been juried into the show, and will be offering work from a few different series, with new work, and pieces from my collection that have never been shown. Only 10 pieces can be listed online at a time, so please do email me if you see other work on my instagram or Facebook feeds that you would like to know more about. Online sales will continue until March 2025. Thanks for checking out my work, and I hope you'll enjoy looking around at loads of great art at the show.


Background

Vortex vessel. Pinched black porcelain.
Christine Pedersen. 2023.
Originally from the UK, I’ve been making ceramics in my home studio in Calgary, Alberta, Canada since 1999. My main form is sculptural vessels, as functional and decorative centre-pieces for the home. My work is characterized by intense surface development: pinched and hand-built ceramics often juxtapose deeply fissured surfaces and textures, with clean, elegant lines. I like to work in series, and each piece is one of a kind. Many pieces have unglazed surfaces, emphasizing the character of the clay; particularly unglazed white porcelains, working with the subtle variations in white and cream, enjoying the work ‘in the white’—like traditional Chinese Dehua ceramics (blanc de Chine). Light and shadow are partners as I develop my work, helping me to refine detail, and complete the narrative of the piece. I like to use colour, sometimes it’s subtle, though I really love bold, juicy colours too, especially on the inside. Grouping the finished pieces is an opportunity to explore how colour, texture, and different clay bodies can ignite a larger conversation about ceramics and form.

Landscape, early art and pottery, science, and natural history, are referenced throughout my work. I have worked with clay since I was a young teen, and most recently completed the Jewellery + Metals program at Alberta College of Art + Design (now AUA) in order to develop inter-disciplinary skills in jewellery, metalwork, and sculpture. My ongoing process of research in clay and metal has been an important part of working within the LEXM team (with Jeff de Boer, RCA and Cory Barkman) to develop public art projects and larger-scale private commissions.


"The Cracks Are How The Dark Gets Out" --detail. Pinched porcelain vessel. Christine Pedersen. 2020.


Comments

Popular posts from this blog

#GroundsForDiscovery - a series of unlikely events, and how science and art work together beautifully

This begins about 110 million years ago with the death of an 18-foot long armour-plated ‘lizard’, some time after it had enjoyed a large salad. Six years ago the fossilized animal re-surfaced at Alberta’s Suncor Millennium Mine, as an excavator dug down to recover the bituminous remains of prehistoric plants and animals in the tar-sands layer. The Royal Tyrrell Museum and National Geographic hail the dinosaur fossil as the finest specimen of its kind in the world—it is the best preserved, with armoured plates and even some skin tone visible. It is also the oldest dinosaur ever found in Alberta. As yet un-named nodosaur fossil. Photo: Kristi Van Kalleveen. #GroundsForDiscovery See the nodosaur fossil up close in this beautifully photographed essay from National Geographic , published in the June 2017 edition. All of the Grounds For Discovery exhibit fossils were accidentally discovered during mining and excavation work in Alberta. As the Tyrrell specimen fact sheet ...

narrative jewellery: tales from the toolbox book launch

For every piece of jewellery I make there is a story. It can be simple, just a note on the “why?” that led to the forms and textures, or the feeling that I want to remember. Sometimes the single idea that could become a piece, conceived way before the act of making, can become so over-whelming that I need to write a whole new reality for the jewellery to exist within. That’s how it was for “Pull”, the first piece of jewellery in a body of work that became the ReFind Collection *. It caused me to look at materials in my home, especially the things that were routinely thrown away, very differently. It was like waking up to realize I just hadn’t been paying the right kind of attention to all the “stuff” in other areas of my life; realizing that maybe jewellery could be linked to something as obscure as industrial-scale food-processing and packaging—if I allowed my mind to receive the information, differently. I am very honoured that my necklace has been included in Mark Fenn’s new ...