Molly Hatch, ‘Quand on Aime Tout est Plaisir After Fragonard’, 2011, Todd Merrill Studio
Molly Hatch, ‘Quand on Aime Tout est Plaisir After Fragonard’, 2011, Todd Merrill Studio
Molly Hatch, ‘Quand on Aime Tout est Plaisir After Fragonard’, 2011, Todd Merrill Studio

Inspired by the 18th century paintings by Jean-Honoré Fragonard, Quand On Aime Tout Est Plaisir was exhibited as part of the New Blue and White at the Museum of Fine Arts Boston (2013). The exhibition’s curator, Emily Zilber, writes: “The widespread dissemination of blue and white was reliant on the ability to print on clay. Hatch takes this one step further, treating ceramic plates as surfaces on which to translate images of swinging lovers from the 18th-century paintings of Fragonard—which themselves would have been spread through prints. Hatch uses Mishima, a Japanese slip inlay technique; its blue lines create a cross-hatched image that can only be read in its entirety when viewing the whole installation. Individually, each plate provides a second frame for Hatch’s drawing. This allows for both figural and abstract representation, and speaks to moments of invention inherent in the translation between the printed image and its source.“

Hatch’s work has been widely collected, commissioned, and exhibited at art fairs nationally and internationally. In 2013, Hatch had a solo museum exhibition at the Philadelphia Art Alliance and was included in New Blue and White, a contemporary decorative arts exhibition at the Museum of Fine Arts in Boston. In the spring of 2014 Physic Garden, a monumental 456-plate painting, was installed at the High Museum of Art in Atlanta, and in 2015 Chronicle Books of San Francisco published a book of her work. In 2016, the Clayarch Gimhae Museum in Korea exhibited a selection of wall installations by the artist. As the artist works on a commission basis, custom works can be created through Todd Merrill Studio.

Male: 55″ H x 45″ W x 2″ D – Female: 75″ H x 55″ W x 2″ 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