Caughley Landscape: Woodruff Arts Center, 2015
This piece is the second commission of work by the High Museum of Art in Atlanta, GA that explores the relationship between the historic and the contemporary through the deconstruction of a piece of tableware from the High Museum English Porcelain collection. I re-contextualize the historic surface pattern of the original Caughley porcelain plate and created a 9' x 7' plate painting over 63 individual hand-thrown and decorated porcelain plates.
Aspire: After Meissen
Aspire is a plate painting made sourcing the iconic Meissen Porcelain Manufacturer's Purple Indian tableware pattern. Aspire is the second in an ongoing series of works where I deconstruct popular tableware patterns from history and decontextualize them through scale and cropping of the original designs. Each plate is hand-thrown porcelain with accents of 11K gold.
Paragon-FOG Fair 2016
Paragon is Molly Hatch’s newest plate painting made sourcing Chinese ornament patterns from Own Jones' archives. Paragon extends Hatch's series of work wherein the artist explores the relationship between the historic and the contemporary through the deconstruction of traditional pattern.
In her most abstract work yet, Hatch re-contextualizes the historic 19th century floral surface pattern through painterly brush strokes over 63 porcelain plates. Hand-painted with glaze, underglaze, and 11K gold luster, each round surface becomes a new canvas, revealing Hatch's unique approach to painting through abstracted lines, bold forms, and captivating plays between positive and negative space. Together, the plates form a unique wall installation, reawakening interest in the historic through 21st century technique and a glamorous, fresh aesthetic.
Double Fluted Lace: After Royal Copenhagen 2015
Claiming the functional surface of the dinner plate as a painting surface, Deconstructed Lace is Molly Hatch’s newest plate painting made sourcing the historic and beloved patterns of the Royal Copenhagen Porcelain Manufacturer.
By re-contextualizing this historic porcelain surface pattern to the large-scale 8ft by 8ft ceramic surface on a group of 93 hand-thrown and decorated porcelain plates, Deconstructed Lace becomes an exploration of the relationship between the historic and the contemporary in its explosion—or deconstruction—of a traditional pattern. Through shift up in scale and the cropping of the original pattern, the mark making of the ceramic painted surface is painterly and gestural. The composition of each individual plate is both an abstraction and highlight of the original pattern—making for a new experience of the familiar.
Recite: Collective 2014
Recite is the first in a new body of work--a collaborative exploration of the textile and wallcovering collections at the Smithsonian Cooper-Hewitt, National Design Museum in New York. After meeting with textile curator Susan Brown and looking through the archives of the Cooper-Hewitt collections, I was inspired to work with this 18th century floral textile as the source imagery for Recite. 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. Riffing on the historic as a musician may riff on a musical score, I offer Recite as my contemporary reinterpretation of this historic pattern.
Physic Garden: Permanent Installation at High Museum of Art
Measuring 22 feet high by 17 feet wide with 475 plates, "Physic Garden" is my largest plate painting to date. Commissioned by the High Museum of Art in Atlanta, it is installed in their Margaretta Taylor Lobby. The High is acquiring the piece, which can be reinstalled in other locations in the future.
2013 London Design Festival
This is a gallery of artworks that are an upcoming solo exhibition at the King'sRoad Anthropologie Gallery in London. The show opens during the London Design Week September 14-22, 2013. Gallery talk with Selvedge magazine editor Polly Leonard in the gallery September 17th. All of the works in this group source the historic textile collections at the Victoria & Albert Museum, London and have been sourced in collaboration with curators of the museum for this exhibition.
MFA Boston 2013: New Blue and White
Curator Emily Zilber of the MFA 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 Jean-Honoré 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."
COVET Project: 2012
This body of work was debuted at the final SOFA NY in April of 2012 in collaboration with Ferrin Gallery and Sienna Gallery. All work is derivative of artwork housed in the collections of the MFA Boston and the Metropolitan Museum of Art in NY. I worked directly with curators at both museums to source historic imagery for these contemporary "plate paintings."
REVERIE: Philadelphia Art Alliance 2013
Hand-painted ceramic plate "paintings" as well as a selection of illustrations from a hand-painted catalog of the Clark Art Institute collection of cups. The final image in the group is of a wallpaper pattern designed and installed in the smaller of the two first-floor galleries at PAA in Philadelphia.