33 Pots, A Decade In Cahoots

33 Pots, A Decade In Cahoots

When art historian and curator Glen Adamson said that just one of Mason's pots "may contain as many ideas as a whole archaeological pit,“ he was unequivocally correct. Each piece of work by Mason is microcosmic— and cosmic. He is a ceramic artist who celebrates the fact that what happens inside a kiln is a glimpse into deep time, that clay offers us a glimpse into our world, into the geology of our planet— and that, at once, porcelain is just white mud.

Gareth and Jason began working together in 2010 and it’s been a decade to remember.

“Our paths have intertwined,” writes Gareth. “We have used this decade well. Having crowned his achievements in antique ceramics with trail-blazing advocacy of contemporary work, Jason is set to continue surprising, disrupting and delighting the art world’s future appetites. For my part, our short decade’s fruitful collusion (and my thirty-five-year immersion) has far from sated my appetite for the pot. Mud and Fire harbour such bewitchment—so deep is their reach, so tight is their bond—that their under-currents and potentialities are set to agitate my inner workings for the rest of my days.”

Mason, who in recent years has decalred himself a sensualist, takes the world in stride and embodies the yearning, in every human person, to experience Awe with a capital A. More poignantly, his work rewards observation, thought, and understanding. It encapsulates the human ability to feel awe in every experience, from the totally mundane to the absolutely sublime.

33 Pots, A Decade In Cahoots

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