Through all her works, Hatch describes herself as “going to history with an eye to interrupting it.” She is searching for her place as a contemporary female artist in the medium’s storied past. “I feel like I’m adding to a conversation and not necessarily wanting to make something new; I want to add my two cents to this long story. What comes to light more recently is being inspired by other women who are thinking about how we exist in the art world as women—or don’t exist, and understanding that a lot of what I’ve been doing is saying ‘I belong here in this story of art.’ Typically, history records the male story, so by appropriating, reinterpreting, re-presenting, breaking those images down and abstracting them by putting them on plates, I’m re-presenting them to you but from a contemporary feminist perspective,” she says….
Sarasota Magazine
Walk into Sarasota Art Museum right now and you’ll see a giant new commission: Amalgam, a “plate painting”—that is, a large-scale ceramic installation—by American ceramic artist Molly Hatch.
Hatch’s work has been exhibited internationally, with permanent installations in many museums, and in commissions for brands like Tiffany & Co. She’s also created commercial work through collaborations with retailers like Anthropologie. For nearly 20 years, her art has focused on merging the distinctive look of painted surfaces with the physicality of ceramics. Drawing on the history of decorative arts and her rigorous practice as a painter, her work examines the meaning of inherited objects in our lives by defamiliarizing traditional patterns and motifs and scaling traditional designs into large pieces that venture into abstraction.
Elle Decor: Breakfast at Tiffany’s? How About Peter Marino’s Art Collection
All of the artists in the show—from Urs Fischer to Holzer to Johnson—have work represented elsewhere in the 10-floor store. A Marino favorite: a wall of hand-painted porcelain plates by Massachusetts artist Molly Hatch. On the upper floor, a replica of a new artwork by Fischer (the original is headed to Milan for the new Tiffany & Co. flagship opening there next year) is a dense collage of iconic rings by the house.
There are also several works depicting a favorite Marino subject: himself. These include Schnabel’s 2022 portrait of the architect rendered in paint over smashed plates. Meanwhile, among the highlights of the show are several bronze consoles, known as “boxes,” by Marino. “I’ve been designing them for 20 years,” says Marino, who was inspired by his own collection of Renaissance and Baroque bronzes. “I’m working on a book on them.”
Women's Wear Daily
Tiffany & Co. is continuing its work with Peter Marino for its inaugural art exhibition at The Landmark. The architect, who is behind the fine jeweler’s new Fifth Avenue flagship, is unveiling an art exhibition in The Landmark’s gallery space, called “Culture of Creativity,” which marks the store’s first exhibition since opening in April ...
Time Out
There's more to admire at the Tiffany Landmark, the brand’s new flagship than its outstanding architecture and sparkling jewels.
An inaugural art exhibition, “Culture of Creativity,” will open on March 4 at the iconic Fifth Avenue store. The work in the bi-level exhibition is sourced from architect Peter Marino’s private collection, which is typically housed at the Peter Marino Art Foundation in Southampton. Marino himself revamped the Tiffany & Co. Landmark’s multi-million dollar renovation that was revealed in May 2023.
“Culture of Creativity” showcases Marino’s collection of Tiffany & Co. sterling silver pieces from the 1880s along with almost 70 contemporary artworks in a variety of mediums by 26 different artists including Jean-Michel Basquiat, McArthur Binion, Sarah Charlesworth, Francesco Clemente, Johan Creten, Andre Dubreuil, Roe Ethridge, Urs Fischer, Hans Hartung, Molly Hatch, Gregor Hildebrandt, Damien Hirst, Jenny Holzer, Rashid Johnson, Y.Z Kami, Les Lalanne, Peter Marino, Vik Muniz, Michelangelo Pistoletto, Antoine Poncet, Richard Prince, Julian Schnabel, Sarah Sze, Louis Comfort Tiffany, Not Vital and Stanley Whitney….
Veranda Magazine
Seen in Veranda Magazine in an Atlanta area home designed by Heather Dewberry and Will Huff Molly, Hatch’s ceramic wall installation plays on the blue and white theme (traditional in decorative arts ceramics) that runs throughout the home.
The artwork on the wall in the family room at Villa Juanita was one of the last elements added to the house. The designers kept waiting for inspiration for this wall and found it at the High Museum of Art in Atlanta.
Molly Hatch creates ceramic installations based on traditional porcelains with a modern scale and interpretation. The blue and white delft chargers in the breakfast room inspired the multi-plate installation in this room.
Explore more of this project in the May/June 2024 issue of Veranda Magazine
Wall Street Journal →
The sixth-floor cafe, originally introduced in 2017, has been redesigned, featuring jewelry-themed ceramic wall sculptures by Molly Hatch, and will be called the Blue Box Café by Daniel Boulud. Galleries on the eighth and ninth floors will host long-term rotating exhibitions. “We really wanted to give the feeling of this being more than just a store and a full experience,” says Alexandre Arnault…
Niche MTL
Ducere, from the Latin meaning “to lead,” is composed of 198 perfectly round dinner plates arranged in triptych, each plate hand-painted to recreate the psychedelic Islamicizing pattern Christopher Dresser designed for his 1872 Minton factory Moon Flask. Dresser’s porcelain flask, an important Victorian-period piece from the “granddaddy of Industrial Design,” as Hatch calls him, is one of the Museum’s most recent acquisitions under Mary-Dailey Desmarais’s curatorial direction. Desmarais commissioned Hatch to design Ducere using the Moon Flask as a touchstone. No other artist could be better suited for this reboot.
“It was not only interesting from the point of view of activating our collection,” explains Desmarais, “but also showing a contemporary artist working within the medium of ceramics, that is a traditional medium used for centuries, and doing something entirely new with it. To see how this contemporary woman artist is navigating ceramic practice — doing a completely new take on a work of art in our collection, and something visually captivating, and also historically profound — was really interesting to us.”