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Aveline Pierced Tabletop Sculpture, Femme Collection | Ornament in Decorative Objects by Lynne Meade. Item composed of stoneware
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Created and Sold by Lynne Meade

Lynne Meade

Aveline Pierced Tabletop Sculpture, Femme Collection - Decorative Objects

Price $1,200

Creation: 1-3 weeks
Shipping: FedEx 3-5 days
Estimated Arrival: December 17, 2024

DimensionsWeight
18H x 6W in
45.72H x 15.24W cm
5.44 kg
12 lb

Aveline is part of the Femme Series, a sculptural exploration celebrating the female form. I am trying to capture the universal balance and grace of the female form. The delicacy of the pierced form, combined with the unexpected and seemingly impossible strength of the clay, reflects how I see women throughout history. We may appear delicate while having incredible powers of perseverance, toughness, and resilience.

In creating this one-of-a-kind piece, part of the pierced collection, the form is thrown on a pottery wheel. Small holes are created when the clay is still wet and then each hole is painstakingly enlarged and smoothed when the clay is bone dry to create a lacy and delicate look. This pierced sculpture is made from white stoneware and fully glazed with a glossy, turquoise, crackle finish. The interplay of light and shadow, color and form complements any urban, contemporary or transitional space



• Material: White Stoneware
• Shape: Femme
• Pattern: Lace
• Designed and handcrafted in Oakland, CA.


DETAILS
Pierced ceramic decor, furniture, lighting and tabletop are made-to-order.
Certain styles and colors are on Quick Ship.
Custom sizes and colors are available.
Commissions for different shapes are welcome.
Lead time is 1 to 3 weeks. Custom orders can take up to 5 to 6 weeks.

Item Aveline Pierced Tabletop Sculpture, Femme Collection
Created by Lynne Meade
As seen in Creator's Studio, CO, CO
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Lynne Meade
Meet the Creator

Lynne Meade

Oakland, CA

Wescover creator since 2020
Wheel thrown, hand pierced pottery

All of my pieces are wheel thrown and hand pierced. Everything is done by eye, without molds or templates. I initially pierce the piece about two hours after I throw it. I pierce it while it is still fairly wet so that it won’t crack. But the holes are much smaller at this point, so that the piece won’t collapse. I then go back when the piece is completely dry and the clay is rigid, and painstakingly enlarge each hole with a damp sponge. The water in the sponge erodes away the bone dry clay, allowing me to take away as much clay as possible
I love to push the medium as far as I can, seeing how little clay I can leave while still maintaining the structural integrity of the piece. People often ask me why they don’t collapse and I tell them that they often do. Most of the time the problems happen during the hottest part of the firing process. The clay becomes slightly molten and the more lacy pieces can slump or collapse. It is a careful balance between achieving the delicate appearance that I want and not creating a kiln disaster.
I also strive to blur the boundaries between form and function, and function and art. I was trained as a traditional, functional potter. I will probably always want to create tableware and functional pieces, but also can’t seem to resist rebelling against function, and the constraints and limitations of functional ware, just to see how far I can take the clay. It’s all about strength in the form of delicacy