Natasha Daintry


My thrown forms are pared-down and minimal. Their potency comes from a tension of opposites. They defy gravity with their floating pale rims but are also steeped in a visceral materiality.  The glazes are fat. They overflow, and roll plumply around bases with an edible quality, like luminous lemon curd. I revel in the exhilarating risk of making technically demanding large forms to show off porcelain’s muscular power and simultaneous delicacy. The scattered cylinders are tiny but intense, like Persian miniature paintings. 

Colour is pivotal. I try to harness the near physical power it has to immerse you, like being in water. I want to know if that luminous space inside a bowl, where the colour hovers, can increase in intensity. I combine the cool transparent qualities of old Chinese glazes with the hot raw brashness of modern industrial stain colorants. I pursue subtle translucencies as well as strange milky oranges or violent opaque yellows bordering on lime. Inspired by the ancient architecture of ziggurats I stack colour and rely on the way one colour reacts with another to create a kinetic vibrancy, like an electrical charge.

1986-89 Cambridge University, Downing College Japanese Studies
 (BA) First Class Honors 2:1
1992-95 Surrey Institute of Art and Design Three Dimensional Design/Ceramics (BA) First Class Honors
2000-02 Royal College of Art, London, Ceramics & Glass (MA)

2003 Crafts Council Development Award
 Chelsea Crafts Fair:
 Adrian Sassoon Award for the Arts of the Kiln
 Evening Standard Homes & Property - Best Domestic
2005 Chelsea Crafts Fair: Elle Decoration ‘Future Classic’

Recent Exhibitions
2007 ‘Three X 3’, The Makers Guild in Wales, Cardiff
2006 Porcelain’ Joanna Bird, Chiswick, London
  ‘To Hold’ Farmleigh Gallery, Dublin
2005 Adrian Sassoon The International Ceramics Fair &
 Seminar London
 Adrian Sassoon ART London, Business Design Centre, ‘
2004 Yorkshire Sculpture Park

Testing the Zeitgeist, essay in Ceramic Review, January 2007
The Essential Vessel, essay in ‘Breaking the Mould’, Black Dog Publishing, 2007
Running Commentary, essay by Alison Britton and Natasha Daintry
in ‘To Hold’ Catalogue, Brantwood Publishing 2006

Public Collections
York Museums Trust




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