Overcoat of Clay
sculpture and works on paper
March 29 - April 27, 2019
Overcoat of Clay
, 2019
installation view
Overcoat of Clay
, 2019
installation view
Overcoat of Clay
, 2019
installation view
Overcoat of Clay
, 2019
installation view
Overcoat of Clay
, 2019
installation view
Rotten Walnut
, 2019
stoneware, glaze, slip, driftwood, plastic fork, rain hat, cement stones, mdf, paint
50 x 29 x 14 inches (plus base)
Rotten Walnut
, 2019 (detail)
stoneware, glaze, slip, driftwood, plastic fork, rain hat, cement stones, mdf, paint
50 x 29 x 14 inches (plus base)
Self Portrait as a Pot II
, 2019
stoneware, glaze, smoke-fired lid, mdf, paint
65 x 10 x 9 inches (including base)
Self Portrait as a Pot II
, 2019 (detail)
stoneware, glaze, smoke-fired lid, mdf, paint
65 x 10 x 9 inches
Three-way
, 2018
pencil, ink and gouache on paper
11 ¾ x 14 inches
Vitruvian Woman (Google Glass)
, 2019
pencil, ink and gouache on paper
29 ⅞ x 22 inches
Vitruvian Woman (Hourglass)
, 2019
pencil, ink and gouache on paper
29 ⅞ x 22 inches
Flesh Knot
, 2018
stoneware with copper carbonate stain
11 x 10 x 7 ½ inches
Inside Out
, 2018
stoneware, raku glaze, carbon carbonate stain
8 1/2 x 5 x 5 inches
(Pot silouette) Chupicuaro Bowl, 2 necks, wh.& bl.on red, straw base (900 B.C.E.- 200 A.C.E.)
, 2016
gouache on paper
49 x 38 inches
Secret
, 2019
stoneware, raku fired with glaze and stain (copper carbonate), can, elastic, lens, steel
11 x 4 x 4 inches
Flask, Late Eastern Chou – Western Han dynasty, China (3rd – 1st C)
, 2015
gouache on paper construction
21 x 21 inches
Vase, Ming Dynasty, China (early 16C)
, 2015
gouache on paper construction
26 3/8 x 18 1/2 x 1 inches
Can we go deeper
, 2016
gouache on paper
29 ½ x 22 ¼ inches
Death is a dialogue
, 2016
gouache on paper
22 x 29 ¾ inches
Maura Doyle presents new works based on stream of consciousness journaling and left-hand drawing. Through pottery, drawing and assemblage, she continues to explore the ceramic form of the pot. The show imagines a cosmology of pots as a form of human experience—which for the artist (as a single mother and potter) is a reconciling of inner and outer worlds. The raw clay surfaces highlight the shape and wall of the pot, which is a boundary to the inside—a deeper reality that is also expressed in the drawings. An ulterior logic seems to embody the hand of the artist as she works across mediums.
Overcoat of Clay is the closing line of Emily Dickinson’s poem “Death is a dialogue”, and is one of many poems and writings Doyle has collected as part of her research into metaphor and pottery. Can daily life, thoughts, flesh, emotions, feelings, spirit, and sense, be hardened into fired pot form?
The artist gratefully acknowledges the support of the Canada Council for the Arts, Ontario Arts Council, and the City of Ottawa.
Maura Doyle has a studio practice in Ottawa / Algonquin Anishinaabeg Aki. Her multidisciplinary practice has included video, ceramics, sculpture, printed matter and drawing. Her current body of work explores her own experience as mother and artist in relation to the ceramic form of the pot. Her work has been exhibited across Canada in artist-run centres and art institutions, as well as internationally in New York, Japan, Sweden and Vienna.