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A primary goal of the abstract expressionistic movement in ceramics was to explore the medium’s sculptural possibilities. Ceramists upended traditional approaches to scale and functionality, in Navaho Maru, however, Philip Cornelius considers the plasticity of clay. Trained within the vessel tradition, Cornelius began experimenting with the fragility of paper-thin slices of porcelain that had been cast-off from other vessels. Upon finding that the clay remained stable through the firing process, Cornelius continued to push the limits of porcelain calling the subsequent objects “thinware.” Navaho Maru draws upon Southwestern Native American decorative elements and challenges the traditional form of a teapot through its paper-thin walls, presenting the object more as sculpture than a functional vessel.
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