Gwyn Hanssen Pigott

Gwyn Hanssen Pigott (born Gwyn John, 1 January 1935,[1] Ballarat, Victoria, Australia, died 5 July 2013, London, England) was an Australian ceramic artist. With a career spanning over 45 years, influences from her early apprenticeships with English potters Ray Finch, Michael Cardew and Bernard Leach were still apparent in her later work. Hanssen Pigott wood-fired her porcelain still-life arrangements that are noticeably influenced by the still life work of Italian painter Giorgio Morandi. Hanssen Pigott maintained a studio in Ipswich, Queensland, and was recognized as one of Australia’s most significant contemporary artists.[2]

Career

1950~1955

Gwyn Hanssen Pigott was born in Ballarat. In 1954, she received her Bachelor of Arts (equivalent to a Bachelor of Fine Arts) from the University of Melbourne. Hanssen Pigott’s first introduction to ceramics was in the 1950s while a student at University. She studied Bernard Leach's A Potter's Book, an influential text for potters both when it was written as well as today.[3] In seeking to learn more in the Leach tradition, she sought out Ivan McMeekin who had apprenticed with both Bernard Leach and Michael Cardew in England.

Between 1955 and 1959, Hanssen Pigott held apprenticeships with several influential potters from both Australia and England. Her first apprenticeship was with McMeekin at Sturt Pottery in Mittagong, New South Wales, Australia, between 1955 and 1957. McMeekin established Sturt Pottery in 1953 as a production and teaching pottery modeled after the studio traditions of Leach and Cardew. McMeekin emphasized the use of local materials for small-scale studio production, a concept introduced to him by Cardew.[4] Hanssen Pigott studied with McMeekin at a time when all clay bodies had to be made from hand-processed raw ceramic materials, as they were not available as commercially pre-mixed products. While at Sturt Pottery, Hanssen Pigott was exposed to an appreciation of materiality and process in addition to a learned admiration of form and beauty in a pot.[5]

1955~1960

Hanssen Pigott traveled to England in 1958. She first worked with Ray Finch at Winchcombe Pottery, established by Michael Cardew in 1926. In the same year she apprenticed Bernard Leach at St Ives, and Michael Cardew at Wenford Bridge. In 1960, she left Cornwall with her newlywed husband, Louis Hanssen, to establish a studio in Portobello Road, London.[6] During her time in London, Hanssen Pigott enrolled in evening classes at the Camberwell School of Art, with Dame Lucie Rie.

1960~2013

In 1966, after several visits, she moved to Archeres, France where she set up her own pottery studio. Hanssen Pigott became more and more well known in the ceramics community internationally. Around this time she lectured in the United States as well as the Netherlands. In 1973, she returned to Australia, moving to Tasmania in 1974 with her second husband John Pigott. Hanssen Pigott and her husband set up a pottery workshop in Tasmania with financial help from the Crafts Board of the Australia Council.

Her many accolades include the following: in 1980, Hanssen Pigott was a “tenant potter” in Adelaide at the Jam Factory Craft Center; in 1981–1988 she was the potter in residence at the Queensland University of Technology; in 1989 she was the artist in residence at the Fremantle Arts Center; in 1993 Hanssen Pigott was awarded a three-year Artist Development Fellowship from the Visual Arts and Crafts Board of the Australia Council; in 1994 she was the artist in residence in the Ceramics Department of the School of Mines and Industries, Ballarat.[7]

Influences

Gwyn Hanssen Piggot’s work has a wide range of influences. The variety of influence from Song Dynasty glazes and palettes to Leach-Cardew forms can be clearly seen in her work. Hanssen Pigott has also written about her interest in the quiet still-lives of Italian painter, Giorgio Morandi, which have influenced her work.[8][9]

Song Dynasty wares

The Northern Song wares concentrated on the meditative qualities of form. Glazing was rich in color, but decoration on the surfaces was minimal. What decoration that was used was delicate and restrained. The work is technically very accomplished.[10]

In addition to her adherence to the aesthetic of the Song Dynasty wares, Hanssen Pigott describes her own sense of form, which is aligned with the Cardew Leach philosophy of the importance of the everyday and humility in pottery:

"About form. I am sure that the forms of the most common, everyday utensils can evoke so much that is inexpressible in any other language, about humanness. That with only the very slightest gesture, the merest suggestion of the lip of a jug, or pouring spout, or the lightest softening of a curve, there can be expressed a sort of vulnerability, or a tenderness, or an attentiveness that causes us to pause. That the scale alone of some objects can touch us, and a small jug of open and generous form can somehow seem brave and absurd and a bit like ourselves."[8]

Leach and Cardew

It is later on that Hanssen Pigott describes how her work differs from the aspirations of Leach and Cardew:

"I no longer care if the cup, with its careful handle and balanced weight (the heritage of years of teaset making), stands unused among a quiet group of table-top objects arranged as a still life, somewhere higher than table height. It is still a cup—an everyday object as ordinary and simple as can be—but from somewhere, because of its tense or tenuous relationship with other simple, recognized, even banal objects, pleasure comes.
I am surprised. It is a weird idea. It is not what I thought my work would ever be about when I tried to live like the unknown craftsman in a hamlet in France, or a hillside in Tasmania. It is alarmingly contradictory; to make pots that are sweet to use and then to place them almost out of reach. To make beakers that are totally inviting and then to freeze them in an installation. Worse still, to take so much time with each piece, carefully trimming and turning and removing most marks of the throwing….Old friends indeed be worried. And yet it has come slowly, out of observation, out of what cannot be refuted. These forms, these assemblages and groupings and jostlings and juxtapositions sometimes have a power to move me, and others. Strange, I cannot understand."[8]

Giorgio Morandi

Hanssen Piggot might have come to arranging her work in groupings as still life compositions reluctantly, but it was definitely not without influence. Hanssen Piggot describes her interests in the paintings of Italian Giorgio Morandi:

"Thankfully there are masters I can look to, who never seemed to miss. The makers of the Korean rice bowls, Giorgio Morandi. Their works confront and inspire, and imply humility, unconscious or highly, intensely conscious, they express a sure understanding. Of something. What? Is that truth in form? Are their forms true? Well, they have left us some sort of man-made, material, tangible expression in real stuff, real clay, real thick paint, which in its pulled back simplicity satisfies a surprising longing. And because I can appreciate it (a little), or feel it, then that understanding must be in me too—as deeply as I allow it. And also, perhaps, the potential to express it. Worth pursuing, would not you say? But perhaps, after all, not to be spoken about too much. Words get too big. Leave them."[8]

Work

In her early work, in the 1950s through the 1970s, Hanssen Pigott focused on producing functional ceramic wares. But she is best known for her more recent objects—three dimensional still life groupings—on which she worked mainly from the 1980s.[11] Her influences from the Song Dynasty wares show early as she was working with McMeekin in the 1950s, who was also heavily influenced by the work from the Song Dynasty.

Gwyn Hanssen Pigott’s work can be found in the collections of: the Art Gallery of South Australia, Australian National Gallery, Victoria and Albert Museum, Los Angeles County Museum of Art, Boijmans Museum, Rotterdam, the Netherlands, Winnipeg Museum and numerous others. Her recent accolades include: 2002, Medal of the Order of Australia, "For service to the arts as a ceramic artist and teacher of the craft." [12] 1998, Australia Council Fellowship Award; 1985, Queensland State Ceramic Award, Toowoomba; 1963, Fellow, Society of Designer Craftsmen, UK; and numerous others.

Death

Gwyn Hanssen Pigott died on Friday 5 July 2013 in London, after suffering a stroke.[2]

References

  1. ↑ David Whiting. "Gwyn Hanssen Pigott obituary". theguardian.com. Retrieved 2013-08-04.
  2. 1 2 Steve Dow. "Gwyn Hanssen Pigott dies". Smh.com.au. Retrieved 2013-07-08.
  3. ↑ Leach, Philip, "The Leach Legacy" in Leach, Bernard (2015). A Potter's Book. Chicago: Unicorn. ISBN 9781910065167.
  4. ↑ Sturt Contemporary Australian Craft: http://www.sturt.nsw.edu.au/index.htm
  5. ↑ Rye, Owen. "Gwyn Hanssen Pigott A Fifty Year Survey" Ceramics: Art and Perception No. 62 2005
  6. ↑ Editor Pascoe, Joseph; Delinquent Angel: Australian Historical, Aboriginal and Contemporary Ceramics; Catalogue © 1995 by Centro Di
  7. ↑ Editor Pascoe, Joseph; Delinquent Angel: Australian Historical, Aboriginal and Contemporary Ceramics; Catalogue 1995 by Centro Di
  8. 1 2 3 4 Hanssen Pigott, Gwyn; The Rightness of Form; Ceramic Review 207 May/June 2004
  9. ↑ Rye, Owen. "Gwyn Hanssen Pigott A Fifty Year Survey". Ceramics: Art and Perception No. 62 2005
  10. ↑ Cooper, Emmanuel; Ten thousand Years of Pottery, Fourth Edition; ©2000 Cooper
  11. ↑ Whiting, David. "Gwyn Hanssen Pigott obituary". The Guardian (12 July 2013). Retrieved 19 January 2016.
  12. ↑ "It's an Honour - Honours - Search Australian Honours". Itsanhonour.gov.au. 2002-06-10. Retrieved 2013-07-08.
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