Molly Hatch, ‘After Chinese Design’, 2013, Todd Merrill Studio
Molly Hatch, ‘After Chinese Design’, 2013, Todd Merrill Studio

Molly Hatch’s most recent body of work encompasses cube vases that use negative space to render the form of the vase that inspires the surface decoration. Each vase is hand-built and hand-painted. The surface pattern for the vase was sourced from examples of Chinese ornament found in “The Grammar of Ornament” by Owen Jones, the English architect who is considered to be one of the most influential design theorists of the nineteenth- century.

Molly Hatch studied drawing, painting, printmaking and ceramics and received her BFA at the Museum School in Boston in 2000. After several ceramic residencies and apprenticeships in the US and abroad, she received her MFA in ceramics at the University of Colorado in Boulder in 2008. In 2009, she was awarded the prestigious Arts/Industry Residency in the Pottery at the John Michael Kohler Arts Center in Wisconsin which laid the foundation for her career as an artist designer with many retailers worldwide. Hatch’s work has been widely collected and commissioned and exhibited at art fairs nationally and internationally. Hatch had her first solo museum exhibition at the Philadelphia Art Alliance, February 7- April 28, 2013 and was included in a contemporary decorative art exhibition at the Museum of Fine Arts in Boston titled “New Blue and White” from February 17-July 14th 2013. This spring “Physic Garden” a monumental 456-plate painting was installed at the High Museum of Art in Atlanta and Chronicle Books will be publishing a book of her work in the spring of 2015.

Dimensions: 12″ H x 9.25″ W x 4.5″ D

About Molly Hatch

Molly Hatch scours textile and porcelain archives from museums around the world (the Victoria and Albert, the Metropolitan Museum, and the Cooper-Hewitt, to name a few) as inspiration for her ceramic objects and installations. Hatch draws patterns from historic source materials, enlarging and editing them, and spreading the intricate designs across vases or groupings of plates. In her most ambitious installations at the Museum of Fine Arts Boston and the High Museum Atlanta, Hatch has hung hundreds of painted plates in colorful constellations that shift from figurative to abstract, depending on where the viewer stands. “Exploring how the eye reads surface pattern, I have deconstructed the repeat pattern by highlighting select floral motifs on the surface of hundreds of porcelain plates,” she says of the impetus behind her recent installation Recite (2014). “Riffing on the historic as a musician may riff on a musical score, I offer Recite as my contemporary reinterpretation of this historic pattern.”

American, b. 1978, Richland Center, Wisconsin, based in Florence, Massachusetts