Marianne Huhn
I work from my home studio in Abbotsford, Victoria (Australia), where I make, draw, and think—creating tactile porcelain objects designed to be used every day. For me, a functional object is never only utilitarian. It holds more than liquids and solids; it can also hold thoughts, memories, and hopes.
I work with two porcelains: Limoges porcelain for throwing and Australian porcelain for hand-building. I mention them simply because each offers a distinct surface. Limoges is smooth and responsive—like drawing on fine paper (or even butter). Australian porcelain has a fuller, thicker feel. If I were to compare them to cheese, Limoges would be goat’s cheese, while Australian porcelain would be a classic “tasty.”
My ideas move between personal observations and the politics of the world we live in. Text often appears in my work—sometimes inscribed on the surface of a pot, sometimes carried in the title—adding another layer of meaning (or ambiguity). The narratives of objects—who we are, where we are, and what we carry—become part of the life of each piece. Tangible forms have the capacity to anchor us and contain more than we know.
Perhaps the objects you choose can add to the story of who you are, and reflect your dreams and thoughts.
I began studying ceramics in 1988, and in 2016 I completed my PhD, Politics and Porcelain, researching Soviet porcelain propaganda produced between 1917 and 1924. Throughout my practice, surface design, drawing, and text have remained central.
I have exhibited in solo and group shows and have published in Australian and international publications. My work is held in private collections worldwide and in public collections including the Powerhouse Museum (Sydney).