Mimi McPartlan - “Morning Arches”
2015. Slip-cast porcelain. This series was was a practice in scale, transitioning from tableware to sculptural study. The arch and rectangle are influenced by Philadelphia classical 19th century architecture and the phenomenon of sunset colors reflected in city windows. The glaze gradient changes across the forms from cool to warm. Photo by Louis O’Rourke.
2015. Slip-cast porcelain. This series was was a practice in scale, transitioning from tableware to sculptural study. The arch and rectangle are influenced by Philadelphia classical 19th century architecture and the phenomenon of sunset colors reflected in city windows. The glaze gradient changes across the forms from cool to warm. Photo by Louis O’Rourke.
Mimi McPartlan - “Shamimi Series”
Collaboration with Shannon Tovey. 2016. Slip-cast porcelain. Shannon and I took the opportunity of a two month residency in Shangyu, China to create a series together in addition to personal projects. The series grew working piece by piece in response to each other. The forms were inspired by Chinese traditions of dining and abstracted imagery.The first piece was the chopstick holder and the last piece was the teapot, both by Shannon.
Collaboration with Shannon Tovey. 2016. Slip-cast porcelain. Shannon and I took the opportunity of a two month residency in Shangyu, China to create a series together in addition to personal projects. The series grew working piece by piece in response to each other. The forms were inspired by Chinese traditions of dining and abstracted imagery.The first piece was the chopstick holder and the last piece was the teapot, both by Shannon.
Mimi McPartlan - “Glass Carriers”
2016. Window glass, slip-cast porcelain, cotton rope. Carriers are for enjoying a small snack and drink for a double date on the beach. The materials are inspired by sand, as sand or silica is essential to both ceramics and glass. The outside surface of the porcelain cups and plates feature rough, revolved lines, from sand imbedded in the plaster during the model-making process. The glass was slumped to the forms perfectly, transforming a hard, fragile material to one that appears soft and liquid.
2016. Window glass, slip-cast porcelain, cotton rope. Carriers are for enjoying a small snack and drink for a double date on the beach. The materials are inspired by sand, as sand or silica is essential to both ceramics and glass. The outside surface of the porcelain cups and plates feature rough, revolved lines, from sand imbedded in the plaster during the model-making process. The glass was slumped to the forms perfectly, transforming a hard, fragile material to one that appears soft and liquid.
Mimi McPartlan - “Facet Series”
2018. Slip-cast porcelain. With its naked surface, this series highlights the contrast of supple shapes and facets of the forms. These forms are meant to be touched and used daily, blending into daily life while elevating daily sensory experience. All models were carved by hand as opposed to using a wheel or other modeling technology. Highlighted in the forms’ oval shapes, asymmetry and familiar-feeling handles, I hope the pieces find a deeper resonance with users as my hand work meets their hands.
2018. Slip-cast porcelain. With its naked surface, this series highlights the contrast of supple shapes and facets of the forms. These forms are meant to be touched and used daily, blending into daily life while elevating daily sensory experience. All models were carved by hand as opposed to using a wheel or other modeling technology. Highlighted in the forms’ oval shapes, asymmetry and familiar-feeling handles, I hope the pieces find a deeper resonance with users as my hand work meets their hands.
Mimi McPartlan - “Twilight Curtain”
2016. Slip-cast colored porcelain, rope, tassels. This was my solo exhibition after a three year residency in Philadelphia at The Clay Studio. The title Fleeting refers to fleeting light, time, and cultures. I was inspired by the effect of twilight on the perception of color, creating a color palette muted by grays. I had also just returned from a trip to China and was inspired by the mix of cultural influences caused by globalism. Photo by Louis O’Rourke.
2016. Slip-cast colored porcelain, rope, tassels. This was my solo exhibition after a three year residency in Philadelphia at The Clay Studio. The title Fleeting refers to fleeting light, time, and cultures. I was inspired by the effect of twilight on the perception of color, creating a color palette muted by grays. I had also just returned from a trip to China and was inspired by the mix of cultural influences caused by globalism. Photo by Louis O’Rourke.
Mimi McPartlan - “Nocturnascape Series”
2016. Slip-cast colored porcelain. These works were a part of Fleeting, a solo exhibition and reflection of three years of making at The Clay Studio of Philadelphia in the residency program. Inspired by the transformation of objects from day to night, the focus of the series is on the shift, the twilight, between light and dark. The objects represent the ungraspable and the fleeting as in the balance of opposites, of modernity and tradition, high and low, East and West, masculine and feminine. Photo by Louis O’Rourke.
2016. Slip-cast colored porcelain. These works were a part of Fleeting, a solo exhibition and reflection of three years of making at The Clay Studio of Philadelphia in the residency program. Inspired by the transformation of objects from day to night, the focus of the series is on the shift, the twilight, between light and dark. The objects represent the ungraspable and the fleeting as in the balance of opposites, of modernity and tradition, high and low, East and West, masculine and feminine. Photo by Louis O’Rourke.
Mimi McPartlan - “Spoon Study”
2014. Porcelain. After an accident that left me out of the studio for months, this was my first project with clay again.
2014. Porcelain. After an accident that left me out of the studio for months, this was my first project with clay again.
Mimi McPartlan - “Swarm Series”
2015. Slip-cast porcelain. Tableware has the potential to influence actions, rituals and food. Swarm was a musing on how I think Americans generally eat shared meals, with larger portions of food that get passed around with some small complementary sauces, relating to different sized buckets and relating more to containers than dishes. The surface pattern reflects their envisioned movement, the surface decoration referencing leaves or wings. Photo by Louis O’Rourke.
2015. Slip-cast porcelain. Tableware has the potential to influence actions, rituals and food. Swarm was a musing on how I think Americans generally eat shared meals, with larger portions of food that get passed around with some small complementary sauces, relating to different sized buckets and relating more to containers than dishes. The surface pattern reflects their envisioned movement, the surface decoration referencing leaves or wings. Photo by Louis O’Rourke.
Mimi McPartlan - “Wanderlust Series”
2014. Slip-cast porcelain. Wanderlust was inspired by the unique experience of airplane meals. The tray measures the same size as a fold-down airplane tray and is designed to hold small, indulgent morsels of food. Wanderlust also refers to the possibility to make ever-changing patterns and arrangements with the softly geometric forms on the table.
2014. Slip-cast porcelain. Wanderlust was inspired by the unique experience of airplane meals. The tray measures the same size as a fold-down airplane tray and is designed to hold small, indulgent morsels of food. Wanderlust also refers to the possibility to make ever-changing patterns and arrangements with the softly geometric forms on the table.
Mimi McPartlan - “Concentric Arches”
2016. Slip-cast porcelain. The profile of the pieces is an arch with each of the pieces being a segment of a circle: a half, quarter, third and sixth. Placed to form one circle, the pieces measure about 1 meter across. The resulting arrangements create studies of rhythm and pattern.
2016. Slip-cast porcelain. The profile of the pieces is an arch with each of the pieces being a segment of a circle: a half, quarter, third and sixth. Placed to form one circle, the pieces measure about 1 meter across. The resulting arrangements create studies of rhythm and pattern.
Artist Statement
I am a maker. The objects I create seek to instill daydreams of familiar feelings. Rituals of socializing or idleness, conversations and occasions are the motives for my making. I question how we curate objects to reflect our origins, dreams and values. I want to know how objects can sway our actions and how we interact with what is familiar versus what is strange. I'm infatuated with tactility, systems and the role of the multiple. My goal is to influence how people perceive their daily lives.
-- Mimi McPartlan
Bio
Mimi McPartlan received her BFA from the New York State College of Ceramics at Alfred University in 2012. Since graduation, she has assisted KleinReid in New York City, been a resident artist at Künstlerhaus Stadttöpferei Neumünster in Germany, Shangyu Celadon Modern International Ceramic Art Center in China and The Clay Studio in Philadelphia. Mimi has made work for the retailer Anthropologie and published in Ceramics Monthly. Recently, she has completed an MA in Contemporary Design at Aalto University in Helsinki, Finland and graduated 2020.