Russel Hackney Posted on July 15, 2014
Russel Hackney July 17 2014
These beautifully elegant egg shaped vases are new to Russell's collection, and we're swooning over the details and new colours. Glazed on the interior, they would be gorgeous with a single flower or simply standing on its own. 7" h x 4.5 d
'The Boulevard series was named for the strong, straight lines that typify this design, which is softened by the panel details. Cork lid allows for storage of various dried goods.' 5" h x 4" d
Left: 'Cast in porcelain from a hand-modelled original, churns are glazed inside and liquid safe. The Chaffinches piece was inspired by all the amazing little birds that visit my garden and provide such joy to the ear. The pair of birds hints at togetherness and sharing – a lovely piece to give to a loved one or a couple starting out together or enjoying an anniversary.' 5" h x 4" d
Centre: 'Cast in porcelain from a hand-modelled original, churns are glazed inside and liquid safe. The Hare was inspired by the arrival of Spring. Words from Wordsworth are carved on the back “All things that love the sun are out of doors…' 7" h x 4" d
Right: 'Cast in porcelain from a hand-modelled original, churns are glazed inside and liquid safe. The Hare was inspired by the arrival of Spring. Words from Wordsworth are carved on the back “All things that love the sun are out of doors…” 8" h x 3" d
$120Learn more about Russell here: http://shop.walrushome.com/blogs/news/8135965-meet-russell-hackney
If not for you, then a beautiful wedding gift, anniversary, milestone birthday, housewarming...
Ceramics Show Recap July 04 2013
'Sometimes I am inspired by a physical component of a building, and other times its is the very live and exciting potential existing within piles of materials on construction sites. I see shapes and forms in these environments that compel me to respond and create with clay. I think of our engagement with architecture and manipulate those conceptual interactions by creating objects reminiscent of this.' - Sarah Peloquin
prices starting at $78
'The "di" pendant light was born from the Dadi birdhouse design collaboration with Angel Dawn. The birdhouse features one side of the form's profile which functions to keep rain water out and allow for leather straps to join the top and bottom halves. As I sculpted the master form in clay, I loved the way it appeared from the side profile and I thought the show would be a great opportunity to create a simple hanging light fixture to highlight the overall design using the same mold!' - Diane Espiritu
prices starting at $8
'In my recent work, I have been interested in ideas of fable and English folklore. I will often begin a piece of work from a line of poetry or narrative idea. I found that medieval stoneware water/cider jugs seemed a good inspiration for the vessels which carry the folklore imagery. The work for this show is a break for me and I have been interested in the marriage of a kind of 'random ornateness' in and around a formal infrastructure that seems to have definite, formal rules and yet might be hard to read as a pattern.' - Russell Hackney
prices starting at $48
'My work is fuelled by the intimacy, comfort and the daily nourishment it provides. I am passionate about re-evaluating familiar forms: accentuate volume, considering light and shadow and investigating proportion. Working in series or sets, I am focussed on the way objects interact with one another compositionally creating a whole from many.' - Kelly Austin
prices starting at $30
'plastic tubs (2012), slightly crushed can (2013), and graffiti spraypaint can (2013) are the latest additions to a body of work started in 2006 referencing the culture of disposability. When transformed into porcelain, these objects offer us a different, strangely elegant, type of permanence.' - Claire Madill of Heyday Design
prices starting at $20
'I'm interested in how things are put together especially when things were made by hand with lots of attention to detail; a building, a garment, a table. I guess I'm always analyzing, usually sub-consciously the design and process of everyday objects in my surroundings. One of the most beautiful forms in the natural world I think is a chestnut. A perfectly imperfect form and it feels good in your hand!' - Cathy Terepocki
prices starting at $42
Meet Russell Hackney June 18 2013
W: You come from a long line of Master Ceramicists – please tell us a bit about that and what brought you to Vancouver?
RH: My home town of Stoke-on-Trent, England has been in the business of making ceramics for nearly 300yrs and in the mid 1970's 50,000 people were employed directly or indirectly in the making of pottery, it's now more like 5000. My grandfather worked on what was called a Potbank (pottery factory) for most of his life and my father worked all of his in ceramics - modelling/mould making at various factories including Portmerion before teaching mouldmaking and then starting his own company, Brunswick Ceramic Services which has been operating for nearly 40yrs in Stoke. I entered the family business at 16 and have worked in ceramics ever since. I mainly modelled shapes and in particular embossment designs for all kinds of clients: large factories to small design firms and potters. In between I took 3yrs out for my fine arts degree. I moved to Canada for adventure and to expand my personal artistic freedom. I have very much come to appreciate the skills that I learned from my father.
W: What inspired you create your collection and where do you find inspiration for not only the designs, but the shapes/function?
RH: In my recent work I have been interested in ideas of fable and English folklore and I am interested in the marks and lines that I find in engraving and woodcut imagery - in particular people like Eric Ravilious. I will often begin a piece of work from a line of poetry or a narrative idea. I found that medieval stoneware water/cider jugs seemed a good inspiration for the vessels which carry the folklore imagery - the shape usually sets the direction the embossment will develop and I certainly look for a harmony between shape (in particular line and proportion) and embossment. The work for this show is a break for me and I have been interested in the marriage of a kind of 'random ornateness' in and around a formal infrastructure that seems tohave definite, formal rules and yet might be hard to read as a pattern.
W: Just to give people a sense of the design process – can you take us through your process from conception to end product?
RH: Briefly: from sketches I turn the basic plaster shape on a lathe and then through a series of models & moulds I reach a Ceramical (very hard, very white ) plaster model that has the basic area of the embossed design ready for modelling. After the
modelling I make a mastermould and then cast the pieces in porcelain.
W: What is your biggest challenge?
RH: Too many ideas; capturing emotion in three dimensions; lack of time!! ; holding back the impulsiveness to make...
W: What is your favourite thing about your craft?
RH: I find modelling deeply satisfying in and of itself - plaster is a material that I love to work in; its a pleasure workingwith my 'ancient tools' - some passed down from my grandfather to my father now to me, have been smoothed and fashioned over the years for very particular functions. I feel very connected to my work and my heritage through these humble old smooth pieces of metal. I think firing ceramics is still a nervous, magical experience...each time you open the kiln is a kind of small miracle!
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