The ceramic vessels by Ann van Hoey are minimalistic and precise, and so flawless that they appear to reach unrivalled perfection. Their form emerges from a geometric logic; origami-like incisions interfere beautifully with their pure, originally circular shape. Throughout her practice, Van Hoey employs a technique she has developed herself – she exclusively uses brown clay. She rolls large flat slabs, places these into bowl-shaped moulds, and subsequently cuts the resulting hemispheres of clay with scissors, folding the different ends together. In doing so, Van Hoey focuses specifically on the edge of the hemispheres with the aim to arrive at a synthesis of round and angular shapes.
Ferrari Red Vessel is an example of this, yet this time the vessel has not retained its usual earthy tone. Instead it has a bright red surface that resembles the glossy coating of a Ferrari car. Van Hoey has thus cleverly merged the traditional craftsmanship of making earthenware vessels with the lush status symbol of modern society and capitalist consumerism. This paradoxical yet seductive combination challenges the beholder to reflect upon the balance between tradition and progress, in ceramics and beyond.
Ferrari Red Vessel resonates with several elements of Aberdeen’s collection. Throughout its collecting history, Aberdeen has laid particular emphasis on art and craft from Northern Europe, and Van Hoey is of Belgian origin. With its origami-like slits, the work also subtly references Aberdeen’s Oriental Collection of decorative art, which contains craft from Japan, China and India. Moreover, the vessel’s dynamic red colour taps into the vital questions stipulated in the museum’s craft acquisition policy, such as how colour is achieved by the maker and what it suggests.
