By Cristina Doyle Glazed and waxed ceramic sculpture
A disc is set inside a vertical column, feeling both monumental and intimate. It recalls a Roman hippodrome—an arena of spectacle—but here that energy is concentrated into a single quiet object: a circular plane on a vertical axis, suggesting motion stopped and a stage always ready.
Hand-built marks are visible beneath the paint, reminders of the maker’s gestures that tie the piece to its making. Layers of pigment change the disc’s surface, the paint acting like memory, building up like layers of past performances. A soft wax finish invites touch; the warm, tactile surface softens the monumentality and encourages close, personal viewing.
The sculpture sits between public and personal: its classical reference hints at communal spectacle, while its size, materials and finish foster an intimate encounter. It stands as a symbol of gathered experiences—grand in reference, modest in invitation.
By Cristina Doyle Glazed and waxed ceramic sculpture
A disc is set inside a vertical column, feeling both monumental and intimate. It recalls a Roman hippodrome—an arena of spectacle—but here that energy is concentrated into a single quiet object: a circular plane on a vertical axis, suggesting motion stopped and a stage always ready.
Hand-built marks are visible beneath the paint, reminders of the maker’s gestures that tie the piece to its making. Layers of pigment change the disc’s surface, the paint acting like memory, building up like layers of past performances. A soft wax finish invites touch; the warm, tactile surface softens the monumentality and encourages close, personal viewing.
The sculpture sits between public and personal: its classical reference hints at communal spectacle, while its size, materials and finish foster an intimate encounter. It stands as a symbol of gathered experiences—grand in reference, modest in invitation.
