One Pot Wonder
12 July 2014 - 30 November 2014
This survey exhibition brings together a range of work by New Zealand ceramist Paul Maseyk. One Pot Wonder focuses on the artist’s unique, personal and highly detailed ceramics, highlighting both the finely painted surfaces and the wide sculptural variations throughout his oeuvre. The title of this exhibition is taken from the largest work on display, at over two metres high, which is one of five new commissions that will be seen for the first time at the Gallery.
Geometric pattern, bold colour, intricate detail, popular culture and historical imagery, anatomy, art historical references, erotica and autobiographical details – these terms, in a multitude of combinations, can be used to describe the unique practice of one of New Zealand’s most distinctive and highly skilled ceramists. Since graduating from Wanganui Polytechnic in 1997, Paul Maseyk has become renowned for his use of daring sculptural forms, personal narratives and complex surface illustration. Paul Maseyk: One Pot Wonder highlights these techniques by bringing together a selection of key works which span close to a decade. The title of this exhibition is taken from the largest work that is singled out and displayed on Level One of the Gallery; at over two metres high this monumental structure, a wonder to behold in itself, hovers above the exhibition and beyond. It is one of the six new commissions the artist has generated for this exhibition.
While the materials Maseyk uses remain relatively constant, including terracotta and white clay, slips, clear glaze and acrylic paints, the divergent aspects of his practice are always apparent. St Paul, the cowboy and King Dick venture out to see the sights is a work that was created during a residency at the Archie Bray Foundation for the Ceramic Arts in Montana, USA. Here, Maseyk has fused autobiographical references from his time in residence with famous American imagery. The detailed drawing that embellishes this pot is also influenced by the ancient Greek tradition of highly adorned vessels. Commando Maseyk versus the Zig-Zag man and Portrait of the artist on a young horse are further examples of what has become his signature style – fine lines, extreme detail, matt finishes and classical Greek forms. In contrast, the Rainbow series, appropriately named due to their colour palette, are glossy and solid blocks of colour employing the use of automotive paints. The titles of his works, including Check-mate! and Sweetbreads, act as descriptors to their content; at the very least they provide the viewer with verbal clues, woven with irony, humour and witty wordplay.
Maseyk’s work is unique in content and form, where the surface of the ceramic is treated as a canvas. As a material, the use of slips, or slipware, is an old English tradition that utilises liquid clay. While the surface of a pot can be dipped in or brushed with slip, it can also be stained with colour pigment becoming a paint in its own right. This material dries almost instantly and allows little room for error; highlighting the skill taken to create contrast, shadowing and tone. While there are common elements that can be seen linking even the more disparate three-dimensional objects, Maseyk’s practice is continually evolving. He simultaneously tests, celebrates and highlights the rich materiality of clay, the expressive potential of its surface and the history of ceramics itself.