Reviews & Articles

Studio Potter July/ August 1997

Review of solo show at the Hart Gallery in June 1997

Were her ceramic pieces to be made of a different material and on a larger scale, Antonia Samons's pieces would make a gracious and satisfying substitute for much dreary modern civic sculpture. But this is not to be. Salmon's work is made on a domestic scale and, as far as entering the public arena is concerned, one would have to imagine the exhibition as a series of maquettes for large scale realization, and this is not their intended purpose. 

Her work is of table-top size and her material a relatively soft earthenware carefully fired and burnished. Their slightly waxed sheen is vulnerable to frequent handling. But the essential ingredients of her work are sculptural. Her starting point is the vessel, a universal physical and metaphorical vehicle through which to express a number of different formal ideas. The ideas spring from Samon's experiences and observations of overseas cultures, particularly those of the near East. Without knowing these ideas or sharing the same experiences, the first time viewer initially understands an interesting study in form and balance, before connecting with the imported symbolism contained within the shaped, angles, curves and structures, suggesting the geometry of foreign architecture, or ritual objects. 

Her work is quiet in nature, with muted tones and soft smooth textures. Her forms are sometimes composite, for instance with a small shallow bowl suspended between the two sides of an enclosed vessel, or a kind of ceremonial blade resting across the top of a bowl with its vertical side held there by notches on either side. She also makes large jars and deep bowls, and carves from their sides shallow ovals. The overall effect is of satisfying simple shapes, made with care. They convey a message of subtle but civilized welcome.

With this kind of work, a photographic representation is a poor substitute and does not pick up on these gentler characteristics - which give the work its real value. Furthermore the work is fully in three dimensions, which a two-dimensional image is powerless to describe - unlike many other ceramic objects which have a clear profile or preferred viewing point. Salmon's work deserves to be looked at closely and sympathetically.

Paul Vincent 1997

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