Also immense is the depth of its history and its diverse associations.
For some the manifestation of a desire to mimic heaven, and a fixture in a macabre genre for others, the gothic cathedral claims a complicated role in European art history.
Research into this role and the role of gothic architecture throughout Europe, alongside opportunities to travel and see some of these architectural phenomena in person prompted this exploration of the visual language of gothic cathedrals in this series.
By isolating and re-contextualizing elements of the gothic cathedral, Lindsey explores how associations are formed though an item that can become as much a part of one’s daily routine as a cathedral was or is to the people of Europe.
Each piece is individually shaped on the pottery wheel, and all handles, surface decorations, and glazes are applied by hand.
Dragon Eggs, Dragon Horns
Centuries ago, when cartographers drew monsters at the edge of the map, people believed they were there.
When tales of the Sirens or Cerberus trekked across the cultural landscape of the ancient world, they were generally believed to be true.
Monsters have had a long history with humanity, and with the film and video game industries bringing those creatures to life with ever-developing CGI technology, it is hard to imagine that that history will not always also be a part of our present.
This lingering fascination with the fantastic--even in a world with maps that have longitude and latitude lines instead of dragons and chimeras at the edges--inspires this series of ceramic vessels.
Each piece is wheel-thrown and carved to look like either the eggs of fantastical creatures set in faux-metal holders, or as though a small dragon horn has been attached to the ceramic base.
By using these vessels, we interact with the long relationship monsters have with humanity, perhaps understanding that at one time it would have been reasonable to believe that the creatures at the edge of the maps were as real as the cup in your hand.