In her present practice Mirka concentrates on the potential for ceramics to communicate concepts beyond common utility.

Glaze and material technology, colour and colour theory continue to be of particular interest during a practice now spanning 25 years. Through her work she examines the endless potentials afforded by the discipline as well as the visual effects that may be attained through colour juxtaposition: effects such as centrifugal and centripetal movement, pulsating and fluttering, and the eye’s propensity to see afterimages. Her work often explores the narratives of the vessel form as well as the personal meaning that colours have for us all and its role in determining emotional as well as sensual responses.

This philosophy extends to Mirka’s pots for the home, where single vessels offer the user the dilemma of choice followed by close personal experience and potential attachment. Her particular fascination lies in the conscious and unconscious motivation behind that choice and that experience.

In the past Mirka had the opportunity to work collaboratively. Broadening the potential for ceramics practice, exploring new methods of engaging the onlooker with the artwork. This collaborative work exposed the nuances for the performative potential of craft practices through interactive installations, time specific work, animation of vessels to music, or projection of film onto the surface of a vessel.

In her most recent work Mirka traverses her interests in human behaviour and geological history, and with her technical knowledge and insight into wider ceramics practice has created her ongoing installation Venus in the Landscape, as well as new strands of work titled Earth Series  and Sisters with Sharp Elbows.

Messums Creative - Chilmark. Photo by Ed Schofield
Messums Creative - Chilmark. Photo by Ed Schofield
Messums Creative - Chilmark photo by Ed Schofield

In her present practice Mirka concentrates on the potential for ceramics to communicate concepts beyond common utility.

Glaze and material technology, colour and colour theory continue to be of particular interest during a practice now spanning 25 years. Through her work she examines the endless potentials afforded by the discipline as well as the visual effects that may be attained through colour juxtaposition: effects such as centrifugal and centripetal movement, pulsating and fluttering, and the eye’s propensity to see afterimages. Her work often explores the narratives of the vessel form as well as the personal meaning that colours have for us all and its role in determining emotional as well as sensual responses.

This philosophy extends to Mirka’s pots for the home, where single vessels offer the user the dilemma of choice followed by close personal experience and potential attachment. Her particular fascination lies in the conscious and unconscious motivation behind that choice and that experience.

In the past Mirka had the opportunity to work collaboratively. Broadening the potential for ceramics practice, exploring new methods of engaging the onlooker with the artwork. This collaborative work exposed the nuances for the performative potential of craft practices through interactive installations, time specific work, animation of vessels to music, or projection of film onto the surface of a vessel.

In her most recent work Mirka traverses her interests in human behaviour and geological history, and with her technical knowledge and insight into wider ceramics practice has created her ongoing installation Venus in the Landscape, as well as new strands of work titled Earth Series  and Sisters with Sharp Elbows.