Anne Hirondelle Lidded Jar Studio Art Pottery Ceramic
Unique lidded jar signed by acclaimed Pacific Northwest ceramicist Anne Hirondelle. Weight 1 pound 1.3 oz. Approximately 4 inches high 4 inches wide and 4 inches long. There is some crazing present on the lid glaze. Small rim chips noted on the upper edge of jar.
Please see all photos for details. Anne Hirondelle was born in Vancouver, Washington, in 1944 and spent her childhood on a farm near Salem, Oregon. She received a BA in English from the University of Puget Sound (1966) and an MA in counseling from Stanford University (1967). Hirondelle moved to Seattle in 1967 and directed the University District YWCA until 1972. She attended the School of Law at the University of Washington for a year before discovering and pursuing her true profession.
Although she knew from the first day that law school was not for her, she stayed for a year, and at the same time, following an interest in ceramics, took pottery classes at the Factory of Visual Arts in Seattle before enrolling in the School of Art at the University of Washington in 1974, where she earned her BFA degree in 1976 under the guidance and direction of the legendary ceramics artist and teacher Robert Sperry. Anne Hirondelle has lived and worked in Port Townsend, Washington since 1977. Hirondelle has exhibited nationally in one-person and group shows including: New York, Philadelphia, Los Angeles, Kansas City, Scottsdale and Seattle.
Her pieces are in myriad private and public collections including: The White House Collection in the Clinton Library, Little Rock, AR; The Museum of Arts and Design, NY; The L. County Art Museum, Tacoma Art Museum, The Fine Arts Museum of San Francisco, the Sanford Museum of Art and many others. She is the recipient of a National Endowment for the Arts Visual Arts Fellowship, awarded in 1988; she was a finalist for the Betty Bowen Award at the Seattle Art Museum in 2004; and she was honored with the Twining Humber Award for Lifetime Artistic Achievement in 2009.
Anne has always been drawn to the vessel as a metaphor for containment, inspired by Robert Sperry, who showed her that the vessel could be a legitimate form of personal expression. Hirondelle's beginnings as an artist were with clay. She began her career as a production potter, creating cylindrical, wheel-thrown vessels with soda-ash glazes. For over 20 years she was drawn to the vessel as an abstraction and metaphor for containment taking ideas from traditional functional pots and stretching them into architectural and organic sculptural forms. As her work evolved, she began to create increasingly sculptural vessels with elaborate spouts, handles, and bases.
No longer necessarily symmetrical, these new shapes and forms became organic and architectural although still clearly recognizable. In the early 2000s, Anne's work moved in a new direction. She found the firing process was becoming too labor intensive for her and the need to glaze was limiting her ideas. To explore more formal ideas she abandoned her signature glazes for unglazed white stoneware and moved the work from the horizontal to the vertical plane. In 2003 she began painting the surfaces. Simultaneously, her drawings, once ancillary to the sculpture, took on a life of their own. Derived from the ceramic forms, drawn with graphite and colored pencil on multiple layers of tracing paper, they are further explorations of abstraction. As she began to explore new approaches, she discovered that stripping surfaces of adornment could embolden the vessels' shape. As glazing was cast aside, so too was her need to create traditional pots. She began deconstructing and reconfiguring the vessel, focusing on the concept of openness instead of containment and exploring issues of light, color, texture, and form. At the same time her drawings, which had to that point been secondary to her ceramic vessels, took on new meaning and importance as vehicles to further explore concepts of abstraction. I believe this is example of her earlier work. Condition reports above only detail flaws or restorations and do not take into account wear, fading, or other issues consistent with an object's age. Weights, measurements and color are approximate and are not guaranteed, including stones etc in the weight and description.Packing: We pad carefully on all sides so the item does not contact the box. Movable parts may be secured with stretch plastic. As much as possible, we use recycled boxes and reuse clean packing materials.
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