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In the early 1980s White began to make organic forms in porcelain, partly hand built. She used the clay as thin as possible, almost like torn paper and assembled it in layers. Ideas come from the layers of rock on the seashore, shells and waves rippling over the sand and colours in the sea and sky. She preferred to make shapes that were more oval rather than round. In 1990 she became involved with calligraphy again and attended an
International symposium in Belgium. Under the influence of a master calligrapher,
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and had the opportunity to experiment with porcelain. She developed wide-flanged bowls, extending the thin rims to breaking point. She also found the possibilities of using colours in glazes instead of the more usual warm browns that she had been using for tableware. This marked a great change in her
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Before the move to
Germany, White had occasionally exhibited calligraphy with the SSI and had used letters on bowls, mainly painted in lustres. In Germany she could not find a market for these and at that time had no contact with German calligraphers, so for many years she concentrated on ceramics.
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work. Turquoise became her favourite colour, at first pure, and then with subtle variations. She began to make more individual pieces and by the time she and her husband moved to
Germany in 1980 she rarely made tableware. In 1982 she was awarded the
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a society for professionals involved in the whole spectrum of the lettering arts and crafts, from calligraphy and letter-cutting
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and in 1951 she married the painter
Charles White (d.1997). She was made a fellow of the
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Her work is collected internationally and appears in museum collections, including the
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In 1975 White was invited to take part in an international symposium in
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letter from Mary White to Ruth Marler, 24 October 1999
159:"Ceramic Collection & Archive: Mary White (Wales)"
240:"The Ceramic Collection, Biographies of ceramicists"
191:"Fellows of the Society of Scribes and Illuminators"
242:. University of Wales, Aberystwyth. Archived from
224:(includes photographs of lettered ceramic works)
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367:Alumni of Goldsmiths, University of London
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16:Welsh ceramicist, calligrapher (born 1964)
213:"Mary White, member, the Letter Exchange"
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83:During the early 1970s White taught at
19:For other people named Mary White, see
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195:Society of Scribes & Illuminators
74:Society of Scribes & Illuminators
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68:. From 1949 to 1950 she studied at
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382:20th-century Welsh women artists
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128:She died in Germany in 2013.
76:(SSI) in 1962 and later the
266:"Some works of Villu Toots"
102:for outstanding craftwork.
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119:Victoria and Albert Museum
60:White was born in 1926 in
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377:British women ceramicists
123:Musée des Arts Décoratifs
325:(2): 26. February 2004.
167:. 2016. Archived from
164:Aberystwyth University
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352:British calligraphers
315:Lettering on Ceramics
290:Lettering on Ceramics
219:on 22 December 2004.
139:, 2003, reviewed in
137:Lettering on Ceramics
56:Lettering on Ceramics
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387:People from Cwmbran
372:Women calligraphers
362:British ceramicists
292:. A & C Black.
288:Mary White (2003).
201:on 10 October 2007.
70:Goldsmiths' College
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33:(1926–2013) was a
246:on 20 August 2007
121:, London and the
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319:Ceramics Monthly
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85:Atlantic College
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171:on 23 June 2016
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132:Published works
99:Rheinland-Pfalz
78:Letter Exchange
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299:978-0713662641
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268:(in Estonian).
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248:. Retrieved
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173:. Retrieved
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42:calligrapher
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347:2013 deaths
342:1926 births
313:"Review of
108:Villu Toots
336:Categories
143:References
27:Mary White
21:Mary White
125:, Paris.
48:Biography
31:Rollinson
112:Estonia
92:Cardiff
35:ceramic
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250:17 May
175:22 May
38:artist
110:from
66:Wales
294:ISBN
252:2008
177:2016
40:and
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
