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1996
Leah Hardy’s conceptual and aesthetic impetus derives from her interest in ritual objects, shrines, and talismans at the intersection of the sacred and the secular. From the late 1980s into the 1990s, she created teapots alongside her sculptural pieces, enjoying the shared visual language and the cultural dialogue between the two modes. Her ceramic work often suggests architectural possibilities, as seen in Stripey Pot, which resembles a silo. Her functional ceramics frequently illustrate a personal anthropomorphic iconography referring to parts of the body, such as shoulders, head, and feet incorporated into the teapot form.
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