Description

Handmade pottery plate in a gorgeous and unique opal white glaze by local art Kate Metten. Fantastic as a dinner plate or smaller serving platter.

Opal white glaze undergoes a unique crystallization process in the cooling of the glaze firing to create an opaque glassy white surface. This glaze varies in opacity that still mutes the clay’s dark freckles. The gloss texture is perfect for everyday use. The creaminess of this glaze holds on to a handmade feel while achieving a clean contemporary look that pairs well with everything.

Stoneware dinner plates are dishwasher and microwave safe. These functional pieces adapt to every possible use and are made to enhance the everyday and provide beauty to your meal times. These simplistic dishes have a slight curve and generally have a diameter of around 28cm.

Approximately 11″ diameter x 1.5″ tall

PLEASE NOTE:  Online purchases will be invoiced separately for shipping via PayPal after purchase. For in-store or curb-side pickup, please make a note during checkout that you will pickup. For a shipping quote before purchase, please contact us at 604.428.4255 or info@gildandco.com

About the Artist:

Kate Metten (born Vancouver, Canada) is an interdisciplinary artist whose material investigations into oil painting and ceramics deal primarily with the language of abstraction. Working at the intersection of those two histories allows a flexibility to address painterly concerns with clay, research into colour theory, visual perception and the still life, while also reflecting on Modernist philosophies of the Bauhaus, the unmaking of craft and material hierarchies. She is deeply concerned with phenomenology and the physicality of form. The internal logic of her artwork is determined by intuitive construction and response to material; Images and objects arise out of multi-layers of decision making to develop forms that are at once recognizable yet unfamiliar. The indexical quality of both painting and ceramic render dynamic impressions of mass and surface that preserve evidence of the hand and mind in motion. Metten’s preoccupation with the mechanics of looking, the psychological play of optical illusions, and our brain’s response to reductionist imagery confronts the viewer with the conditioning of their own perception.