Julian Stair’s works are often described as minimalist. His pieces are noted for their restrained decoration, the elimination of unnecessary details and the use of a muted colour palette. Julian is interested in the place of pottery in contemporary culture and in the ideas of function rather than in the concepts of abstraction and emptiness. The shapes, surfaces and decoration, or rather the lack of it, all suggest the possibility of use, if not its reality. Stair’s cups and teapots are not intended to remain forever on their grounds, or pedestals, but rather the grounds are a home for the cups from which they are removed and returned. Thus this removal from and return to the grounds becomes part of the ritual of their use and plays on the banality of the teacup and the sacredness of the ceremonial cup.
Julian Stair’s works are often described as minimalist. His pieces are noted for their restrained decoration, the elimination of unnecessary details and the use of a muted colour palette. Julian is interested in the place of pottery in contemporary culture and in the ideas of function rather than in the concepts of abstraction and emptiness. The shapes, surfaces and decoration, or rather the lack of it, all suggest the possibility of use, if not its reality. Stair’s cups and teapots are not intended to remain forever on their grounds, or pedestals, but rather the grounds are a home for the cups from which they are removed and returned. Thus this removal from and return to the grounds becomes part of the ritual of their use and plays on the banality of the teacup and the sacredness of the ceremonial cup.
