172. Lauryn Axelrod, three pieces from her “Sheddings” series

172. Lauryn Axelrod, three pieces from her “Sheddings” series

For Axelrod, see item 147.

The “Sheddings” series is about things left behind when they are no longer useful. The series was inspired by fragments of seashells Axelrod saw on a beach in the Galapagos Islands. All the pieces were made from wild clay she harvested in Texas and wood-fired for 48 hours in a train kiln, also in Texas. These were intended to be hung on a wall from one of the grooves on the back side using a screw or nail head. 

 

A. Fine-grained gray clay. Colors from wood-firing. Weight: 354 g (13 oz). Width at top: 13.6 x 12.7 cm (5-1/4 x 5 in); at base: 6 cm (2-3/8 in). Height: 2.8 cm (1-1/8 in).

The flat area on the back side has four grooves intended to be used in hanging the piece. In the center of this area is a small circular stamped artist’s mark, the Japanese character “mori”  森, or Three Trees, the name of Axelrod’s studio. The walls rise in a convex arc to the rim. The rim itself is highly irregular and broken. The interior bears deep circular grooves made by the fingertips as this was shaped. The surface is smooth except on the ridges and edges.

The flashing colors of red and light gray come from the wood-firing. There are four small area on the back where the raw clay shows through, the remnants of the posts used to support the piece during firing. The front surface is gray with occasional glossy areas from melted ash. The back side is red and gray; most of the back side has a glossy finish.

B. A medium-coarse reddish tan clay. Colors from wood-firing. Weight: 392 g (14 oz). Width at rim: 14.5 x 12.5 cm (5-7/8 x 4-3/4 in); at base: 6.3 x 7 cm (2-1/2 x 2-3/4 in). Height: 5.3 cm (2-1/8 in).

The flat area on the back side has four grooves intended to be used in hanging the piece. In the center of this area is a small circular stamped artist’s mark (see above). The walls rise outward in a slightly bowed straight line to the rim. The rim is highly irregular. The interior bears deep circular grooves made by the fingertips as this was shaped.  The texture of the interior is rough; that of the exterior is smoother in most places.

The flashing colors of red and gray come from the wood-firing. The flat area on the back was uncolored by the firing and must have been resting on a shelf or floor. Most of the interior was similarly left uncolored by the firing and shows the reddish tan color of the bare clay; only the edges have gray flashing. The exterior exhibits both red and gray flashing.  There are only a few areas of wood-ash melt, chiefly along the rim.

C.  A coarse dark clay. Colors from wood-firing. Weight: 730 g (26 oz, 1.6 lb). Width at rim: 17.5 x 16.7 cm (7 x 6-1/2 in); at base: 7.5 x 8.2 cm (3 x 3-3/4 in). Height: 5.8 cm (2-1/2 in).

The flat area on the back side has four grooves intended to be used in hanging the piece. In the center of this area is a small circular stamped artist’s mark (see above).  The walls expand outward in a slightly bowed convex arc to the midpoint and then flare outward in a straight line to the irregular rim. The interior bears shallow circular grooves made by the fingertips. The surface of this is very rough.

The colors, black, a dark red, and a few streaks of gray, come from the wood-firing. There are heavy deposits of ash and cinders on all surfaces. The base has a few areas of melted wood-ash glazing.

The three pieces are related in shape and design, but each is still individual. The first is almost a plate; the last one almost a bowl.  Hanging these on a wall would obscure their three-dimensionality. Too much would be hidden if the back side were not visible, and too much of the tactile exuberance of the clay would be lost if it were difficult to handle them.

Purchased from the artist in late 2021.