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Additional Artworks

From Museum of Outdoor Arts

  1. Long House (model) by MOS Architects, Image 1.

    MOS Architects

    Long House (model), c. 2010

  2. Element House (model) by MOS Architects, Image 1.

    MOS Architects

    Element House (model), c. 2010

  3. The Thousand-Mile Stare: Images from Ground Zero; New York City, September 13, 2001 - May 30, 2002 by Nanette Martin, Image 1.

    Nanette Martin

    The Thousand-Mile Stare: Images from Ground Zero; New York City, September 13, 2001 - May 30, 2002, 2003

    metal

    5.5 x 8 in

  4. Wing by David Nash, Image 1.

    David Nash

    Wing, 2001

    oak

    59 x 6 x 12 in

  5. Mona Lisa Portraits by Peter Max, Image 1.

    Peter Max

    Mona Lisa Portraits, 1993

    serigraph in color on woven paper

    30 x 40 in

  6. White Rabbit by Harry Marinsky, Image 1.

    Harry Marinsky

    White Rabbit, 1993

    bronze

    15 x 6 x 7.625 in

  7. Untitled by Harry Marinsky, Image 1.

    Harry Marinsky

    Untitled

    watercolor on paper

    14.5 x 19.5 in

  8. Untitled by Harry Marinsky, Image 1.

    Harry Marinsky

    Untitled

    watercolor on paper

    17 x 21 in

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About the artist

Ursula Morley Price

b. 1936

Born in London and initially trained as a painter, Ursula Morley-Price has, since 1980, practiced the ancient technique of coiling in order to create ceramic pieces of a great fineness characterized by the movement of waves in the breeze. Each piece is developed around a central form – vase, bottle or dish. Onto this framework, by progressively adding small coils which she pinches and thins to the very limit permitted by the clay, she patiently builds fine wings – as an undulating wave launched into space. Despite their base in utilitarian forms, derived from the improbable combination of the lace ruffs of the portraits of the 16th and 17th Centuries and the fine paper honey-combed Japanese decorations (memories of her childhood), the sculptures of Ursula Morley-Price tend towards a harmonious and totally personal imagery . Ursula Morley-Price works with a range of matte glazes going from a creamy white to rich dark browns, and passing through the subtle tones of bronze or greenish blue. The edges, of an extreme fineness, are almost serrated. The turning and undulating movement creates an airy rhythm and a play of light and shade that runs throughout the piece making one forget the weight of the stoneware. -Virginie Desrante, Conservateur, Département du patrimoine et des collections, Sèvres – Cité de la céramique. In “Circuit céramique à Sèvres. La scène française contemporaine. Edition Sèvres- Cité de la céramique, 2010.”
Image of artist