VESSELS — Bonnie Lynch Vessels

Sphere, 2014 19.5” x 22” x 22” saggar fired clay

Creased vessel, 2015 13” x 15” x 7” saggar fired clay

Torn Vessel, 2015 8” x 8” x 8” pit fired clay

Small Hueco, 2014 5” x 11” x 12” pit fired clay

Scallop, Vertical, 2014 26” x 27” x 13” saggar fired clay

Sphere, 2014 19.5” x 22” x 22” saggar fired clay

White Cocoon, 2014 26” x 10” x 10” saggar fired clay

Untitled, 2014 22” x 15.5” x 9” saggar fired clay

White Bulb, 2014 20” x 16” x 16” saggar fired clay

Small and Large Bulbs, 2014 12” x 10” x 10” 20” x 16” x 16” saggar fired clay

Ribbon Vessels, pair, 2014 11” x 16” x 9” 15” x 16” x 8.5” saggar fired clay

Black Scallop with Silver, 2014 14.5” x 14” x 7.5” saggar fired clay

Scallop, Horizontal, 2014 11.5” x 24” x 24” saggar fired clay

Small Pods, 2015 3”-5” x 6”-10” pit fired clay

Small Vessels, 2014 9” x 8” x 7” 8” x 8” x 7” pit fired clay

White Form After Darkling Beetle, 2009 34” x 19” x 14”

Reliquary, 2009 30” x 28” x 13” saggar fired clay

Coleoptera, 2009 27” x 17” x 17” saggar fired clay

Dana, 2014 20” x 15” x 16” saggar fired clay

Small White Hueco, 2013 5” x 10” x 11” saggar fired clay

Small Grey Hueco, 2013 4” x 10” x 10” pit fired clay

Small Oval, 2013 8” x 11” x 6” pit fired clay

Small Creased Vessel, 2013 12” x 11” x 11” saggar fired clay

Camelthorn Vessel, 2010 15” x 15” x 6” pit fired clay

For Robert 17” x 12” x 12” saggar fired clay

For Linda, 2007 15” x 17” x 15” pit fired clay

Asian Form From August, 2007 21” x 20” x 20”

Oval Form, 2013 24” x20” x 12” saggar fired clay

Graphite Vessel, 2015 16.5” x 16” x 9” saggar fired clay

Small Black Hueco, 2014 5” x 12” x 12” saggar fired clay

Bonnie Lynch’s ceramic works reference the simple elegant forms of nature. Informed by years in the desert Southwest, her work reflects the vast landscape in its silence, the limitless sky, wind and stones.

Exploration of the vessel as an abstract form is central to Lynch's work while respect for the classical vessel is always present.

Her process involves weeks of coiling and shaping vessels with handmade tools. The pieces culminate in a dramatic firing technique yielding unique organic markings. The finished work is never glazed, retaining the natural texture and surface of the clay. Dimensions range from small pods that fit in one hand to upright vessels up to five feet, large spheres and ovoid forms.

Each object is created with remarkably thin walls that belie their structural integrity. Her shapes reference a broad range of influences, some as simple as a weathered stone, others as complex as African ceremonial objects she has collected over the years. A journal of images from her travels can be found here.