Image of Philomena Harmsworth Title in Mistral Font

Creative explorer making visual stories

Portrait Photo of Philomena Harmsworth in front of a painting

Vessels are female. There is no doubting it in my mind. Bowls, vases, the shapes simply lend themselves to curves and rounds.

With this new 3D vision, (I am new to ceramics having been a painter for 25 years), and a year at the pottery wheel building up rounds and making them curve spawned the project The Many Vesseled Women. These are literally female figurines made up of domestic vessels – traditionally hand-thrown bowls and vases piled on top of one another. They have a dichotomy of traditionally produced domestic ware with a sassy decorative element.

The next creative stage to these doll like figurines of the Many Vesseled women was to take the movement captured so far, mostly in the draftsman ship on the surface of these effigies, and make them dance! Sculpturing movement was the aim within this new collection.

Ideas began with the “Yellow Flower” candlestick holders. The moth people stem from the attraction moths have to light. They are double candle stick holders, designed to play with the flickering dancing light of the candle flame by the facets cut into the clay, shiny glazes and lustres, in such a way that is irresistibly enticing: moth vision.

The most natural place to start was with the Italian Futurists, and as there is still such an instinctive part of me that is a painter, I am referencing their paintings and Muybridge’s animated photographs. Therefore this new ceramic collection is a betwixt stage of experimentation in contemplation of dancing legs and the drumming up of fire, clothing caught mid movement, ancient international symbols that mean turning, and, of course, my own wild understanding!



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