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.

1986-1989 Cambridge University, Downing College Japanese Studies (BA) First Class Honors
1992-1995 Surrey Institute of Art and Design Three Dimensional Design/Ceramics (BA) First Class Honors
2000-2002 Royal College of Art, London, Ceramics & Glass (MA)

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

Recent Exhibitions
2007 Porclain and Colour’, Solo Show
‘Hue, Line and Form’ CAA, London
‘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

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

Public Collections
York Museums Trust




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