The subtle beauty of functional tableware
- Canadian-born Chris has made Edinburgh his home
- He designs and crafts functional tableware
- His studio is an open access space for all things ceramic
There is nothing frivolous in Chris Donnelly’s approach to his craft. On the contrary, his functional ceramic tableware is a distinctive blend of pragmatism and experimentation. His style is the result of both fortuitous encounters and an on-going challenge to himself – to isolate and investigate the potential of a technique or a tool, for instance – and there is nothing random in his mindset, which is very designer-led. His independent and rigorous thinking helps him to be truly innovative and contemporary in a subtle and personal way, expressing most of the narrative on the surface of his pieces. “It is not healthy to follow trends.”
INTERVIEW
There are no craftspeople in my family but I had several teachers who opened my mind during my education and training. They showed me the immense potential of ceramics, the countless aspects that one can decide to investigate. I focused on functional tableware.
The potential of ceramic making is huge. It’s a never-ending learning process. And still, mistakes are always possible and they are irreversible. I like to limit the specific perimeter of my craft and to go in-depth on a piece.
I use an obsolete machine which I restored myself. The machine may be old but I use it to innovate and make contemporary work. I have a similar issue with the firing process: Edinburgh is a smoke-free city, so I fire my pieces electrically, which narrows the potential in terms of decoration. I like to turn these obstacles into positives.
I use designer instruments, like 3D modelling and printing. Artist, designer, craftsman: the borders between these categories are blurred, but craftsmanship is the way I do things: I always ensure that my human touch is there and that my hands are dirty.
