The Art of the Teapot: Exploring Creativity and Craftsmanship 

Curated by Olwyn Bell

The teapot is in constant metamorphosis. Originating as a luxury good in ancient China, the teapot’s journey reflects the history of tea itself. As the beverage spread across continents and became a global commodity, the teapot evolved alongside it, reimagined across cultures and generations. Today, ceramic and glass artists continue to push the boundaries of the teapot’s form and functionality. The Canadian Clay & Glass Gallery has assembled a collection of such pieces, showcasing the artistic potential of the (not so) humble teapot. Through a selection of six compelling pieces, this exhibit highlights the teapot’s enduring significance as an artistic muse, celebrating both craftsmanship and creativity.  Through this collection, the teapot is transformed from an everyday object into a canvas for artistic expression, showcasing how artists continue to redefine the teapot’s form and significance. 

Pink Teapot by Richard Marquis initially appears as a beautifully designed teapot, but closer inspection reveals it is also a fully closed glass sculpture. The piece’s flat base tapers to a small, circular lid, connected to a triangular spout and a long, delicate handle that curves overhead and concludes with a rounded tip. Such details contribute to the dynamism of the piece’s fluidity, which is enhanced by a pattern of extended pink hearts covering the base. Marquis’ overt references to symbols of love, along with his dynamic and delicate design, create a romantic and fluid affect. This thematic exploration – combined with Marquis’ transformation of the object’s conventional functionality into a purely aesthetic form – re-envisions the domestic teapot as a work of fine art. 

Brenda Sullivan’s Arched Teapot employs a robust design with a geometric base and organic tones. Despite its solidity, this piece remains rich with movement; its arched design and the rippling handle create contrasting points of visual interest. Abstract linear designs decorate the base and break the pot into thirds, a ratio that is mirrored by the handle, lid, and spout extending from the base. These design choices result in a intentional and yet also impulsive piece that challenges our expectations of the object, marrying utility with sculptural artistry. 

Paul Mathieu’s Quilted Teapot adopts a traditional style of teapot while also playing with the object’s construction and design. Improvising on the imagery of a tea cozy, Quilted Teapot is formed by multiple panels of varying designs. Panels alternate between multi-coloured stripes, dots, and geometric patterns, and appear stuffed due to their raised texture. The piece’s colourful design feels both festive and domestic, provoking viewers’ nostalgic and familial associations. 

In contrast, Lorie Schinko’s Untitled challenges the teapot’s form to the point of becoming unrecognizable, if it were not for its spout. The teapot’s lid consists of a cluster of organic pink bulbs that seem to grow from the cylinder base, which is decorated with multicoloured dots separated by wavy white lines. Blue and green leaves shape the handle, with golden spheres connected to the middle. Like Mathieu’s Quilted Teapot, Schinko’s piece coveys a startling sense of festivity through colour and design. At the same time, its organic sculptural elements animate the piece’s otherwise simple base, creating an engaging and textured viewing experience. 

Chandler Swain’s Teapot with Dancer infuses sculptural elements with movement.  Splashes of flowing, muted colour and the pinched seams enhance the piece’s sense of motion, mirroring the functionality of a teapot. On each side of the pot are raised, female nude figures, whose arms extend to the spout and handle. The teapot’s extremities cut off the figures’ heads and arms, suggesting an interplay between the object and the human body. 

Jeannot Blackburn’s Torso Teapot similarly plays with human form. The teapot’s base takes the shape of a male torso wearing a blue, purple and yellow striped swimsuit. A purple circular handle on the back and a long yellow spout protruding from between the legs complete the piece. The torso is reminiscent of a classical statue, while the bathing suit adds a modern, athletic irony. This evocative and deeply symbolic sculpture is at once both playful and political, suggesting a liberation and celebration of homosexuality. 

Olwyn Bell
Guest Curator

The above works can all be found in the Canadian Clay & Glass Gallery’s Permanent Collection Online.

About Olwyn Bell

Olwyn Bell is an undergraduate student at the University of Waterloo, studying English Literature and Visual Culture. From a young age, Olwyn has been enamored with art and its history, and brings with her a rich background of creative interests. Her interdisciplinary experience allows her to explore the connections between literature and visual arts, enriching her appreciation of both fields.