like crystals, light dancing off water, the inside of a shell!” To which again and again Kate simply smiles and says in response, “thank
you,” or, “I like that, too.”
All have, of course, been catalogued in detail
through photographs and “cookbook” of recipes for over 1,000 glazes. The “cookbook” is particularly impressive. It is a full-size book, an inch or two deep, with actual recipes accompanied by the resulting color. Not yet
available to the public, Malone intends it to be some day. It is her commitment to her community, to younger people entering the field, to her long-held belief that it is important to share what you know, to teach and educate those coming behind you – a subject and consequence of which we highlight in the sidebar involving a project, FiredUp4, installing ceramic studios in after school youth clubs.
Her Work
Kate is not just a “potter” or “ceramicist,” but a true scholar. Already mentioned was her approach, her practice, and her deep research into glazes. But of equal interest is the collection of pottery and ceramics that fill her home. She possesses that never ending curiosity of learning and admiring the work of those who have gone before her. A perfect example is our experience when heading to her home from the train station: Malone stopped the car to drop off a post. Sitting in the car, it was not long before we realized Kate had dropped off her package and was standing before tables in front of a second-hand store examining many of the items for sale. A few minutes later she reappeared at the car with
ceramic pitcher shaped in the form of a barrel,
which upon reaching her home would soon find
its position amongst Kate’s far-ranging collection.
Understanding this focus, intentionality, and
approach goes a long way in understanding
Malone’s personal growth and career trajectory. Serendipity and long study underpin the work of Kate Malone, whose technique extends across both her small and large pieces. And this
is true of whether the work is intended for first time buyers, collectors, or public projects.
As the accompanying slide show demonstrates, Kate’s work ranges from pieces responding to the century’s old British ceramic tradition to very abstract pieces defined through form and color. Whether large or small, grounded in nature or abstract, Kate’s vision and technique clearly distinguishes her from her peers.
Consider, for example, Malone’s pieces inspired by nature. Nuts, fruits, berries, and flowers can be re-presented in sizes as true to life as you would find on floor or vine: or they can be exponentially expanded upon to create iconic pieces that serve to transcend individualism through form and glaze, revealing the transcendental nature of any individual type.
Standing in Kate’s studio, your eyes take in this contrast. On shelves, there might be individual pieces representing acorns and pinecones,
pumpkins and gourds, seeds and seed pods, artichokes and pineapples – or some combination thereof – all of which can easily be held in one’s hand. And in the kiln, massive pieces of the same, which would require the effort of multiple people simply to move them.
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Kate is not just a “potter” or “ceramicist,” but a true scholar. She possesses that never ending curiosity of learning and admiring the work of those who have gone before her.