Meredith Morten
Installation View, 2011, HallSpace


Meredith Morten
, 2009
fired earthenware, stain, glaze
approx. 2.5L x 1W x .75H inches each


Meredith Morten
TC25_CB09, 2009
fired earthenware, stain, glaze
6L x 1.25W x 1H inches


Meredith Morten
TC14_CB09, 2009
fired earthenware, stain, glaze
14.5L x 2.25W x 1.5H inches


Meredith Morten
TC24_CB09, 2009
fired earthenware, stain, glaze
8L x 1.75W x 1.5H inches


Meredith Morten
TC21_CB09, 2009
fired earthenware, stain, glaze
17.25L x 3W x 1.25H inches


Meredith Morten
TC15_CB09, 2009
fired earthenware, stain, glaze
13.25L x 2.75W x 1.5H inches

Meredith Morten

My work crosses disciplines that span 8000 years. It is rooted in contemporary art and theory but inspired by prehistoric archaeology. Primary sources of inspiration come from Neolithic, Copper and Bronze Age remains in Eastern and Central Europe. Recent works have been abstract ceramic forms that indirectly reference anthropomorphic figures, tools and weaponry. Underlying themes center on belief systems, power structures, and the mysteries of creative impulse. My intent is to overlay contemporary and ancient form and idea. At the core I am investigating time and commonality seeking the thread that binds us to our ancient forebears.

My process is both intuitive and direct. I work within the parameters of a concept guided by visual stimuli and environmental impulses. Inspiration gained through site visits, conversations, research, and experimentation in the studio informs and drives the work. Following a period of reflection I create abstractions, by building, hollowing and carving clay. I emphasize form over color, use minimal glaze, and rely on natural tones of clay bodies, stains and atmospheric firing to create surface incident. My sculpture ranges from small to large. I work in series, the parts of which are exhibited as objects or incorporated into installations.

This series of sculptures was inspired by living and working on the Alföld, the Great Hungarian Plain in Central Europe, rich with archeological deposits from the late Neolithic. Enabled by a Fulbright Grant in 2009, Morten took her studio practice to a community of artists gathered at the International Ceramics Studio in Kecskemét, Hungary. Research and innovation flourishes here as artists exchange concepts and practices alike. In turn Morten explored working with local materials and techniques, and through the process identified visceral connections between the native soil and the local tradition, descended at length from the prehistoric Tisza Culture.

E. Tornai Thyssen, Ph.D.