Natasha’s 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. She revels 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. Natasha harnesses the near physical power it has to immerse you, like being in water. She wants to know if that luminous space inside a bowl, where the colour hovers, can increase in intensity. Natasha combines the cool transparent qualities of old Chinese glazes with the hot raw brashness of modern industrial stain colorants. She pursues subtle translucencies as well as strange milky oranges or violent opaque yellows bordering on lime. Inspired by the ancient architecture of ziggurats, Natasha stacks colour and relies on the way one colour reacts with another to create a kinetic vibrancy, like an electrical charge.
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