Gallery Gallery

‘With a deft sense of aesthetic balance, Öner combines disparate elements moulded from found objects, the detritus of modern life, into new unified ceramic forms. His teapots, with their articulated legs and rococo handles, speak of elegance and humour, a marriage of functionality and aesthetics.
Öner works his alchemy, transforming beauty out of waste.”

Gregory Tingay
Potter & Artistic Director of Studio Pottery London

Photographed by Virginia Mazzocato.

Teapot Series No:2, March 2021

I have been working with non-ceramic discarded, broken found objects and transforming these into ceramics by changing their material quality. I affect a transition from useless and unwanted object to ceramic artwork. Preserving their shapes of the original objects, I transform them and bestow new value upon them through combination into new and functional ceramic forms.

The modern era is submerged in a multitude of objects from urban work and domestic life. This plethora of materials provides the ceramic artist with a rich source of discarded, leftover, and waste objects for recreation in ceramic.

The teapots are an amalgamation of different elements: spout, lid, container body, handle, legs or foot ring, and finial. To me, there are unlimited possibilities to make teapots in any form, and colour. For an artist, this domestic object presents potential sculptural possibilities beyond the simply functional.

‘The teapot is simply one of the most potent of domestic icons, Arman calls it one of the social fetish objects, suggesting that its pace in our lives is even more complex and subconscious than we realise. It holds clues to the social station, to manners and protocols, to matters of gender, to fashion and stylisation in popular art. It meshes issues of visual art with culinary history. It intersected both fine and decorative arts. It is stained with the tea and blood of West’s insatiable thirst for this fragrant leaf. It is graced by civilised, charming social rituals. All of this meaning and memory is miraculous compacts into a small pot, a handle and spout’.

Clark, G., 2001, The Artful Teapots, Thames & Hudson Ltd. p 9.

The plate collection is an exploration of the ageing and deformation by natural forces or through human interference. It reflects a fascination in seeing how gradual rotting, corroding, and rusting can create complex colour and textural patterns.