Anne Marie Laureys likens the outer clay walls of her vessels to skin.
She has a powerful sense of the physicality and the sensuality of clay, of its movement and of its strength.
The wrinkled skin like sides to this double vessel are typical of her Clay-e-motion pieces: she has used the playful action of her fingers against the soft, still wet, thrown in rotation, still moving despite it being a fired, static piece.
Laurey’s works can appear quite menacing at times, as the convoluted, sometimes slightly disgusting interior asserts itself through a shimmering glaze or a colour much brighter than the outer ‘skin’ wall.
The visceral nature of her approach to making and the animated sense of the interior pulling against the exterior disturbs and undoes the notion of the vessel, the container, as an object of comfort or serene contemplation.
Contemplating Laurey’s seething pots can be a very unsettling experience.