Experimenting with Plaster of Paris

Before Christmas I went to see the exhibition at Tate Modern on the work of Maria Bartuszova. It is on until mid April and very well worth seeing. My visit followed directly on from a visit to the Hayward Gallery to see the exhibition Strange Clay, which, by the way, you are too late for as it finished in January.

What struck me most about it was the clunkiness of much of the ceramics featured at the Hayward in contrast to the fragility of the plaster of Paris at the Tate. Returning home I vowed to see if I could reverse this contrast – use plaster of Paris moulds to make exceptionally fragile ceramic structures. It is a crazy quest – this level of fragility comes with a huge number of fails – but when I get it right it is showing exciting promise. So here is a little taster of what is to come . . . . .

It will form the bulk of the work for my Masters degree final major project in Summer 2023 and I am very hopeful that the work which comes out of the kiln will be unique and amazing. Fingers crossed.


  1. Cappy Bond says:

    Oh my goodness, Bridget. This work is exquisite. The fragi

  2. Cappy Bond says:

    This work is emotional. I can feel the fragility of each egg-like shape and it reminds of the miracle of life. Thank you for sharing your work, process and inspiration, Bridget.

    1. Thank you for your lovely comments.

  3. Angela Young says:

    What brave work you have given yourself. But what alchemy too. I especially love the last image: they’re so delicate they look like eggshells.

    1. Thanks Angela. I think I am probably a bit crazy to base my MA on this but I felt I might as well be hung for a sheep as a lamb!

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