Every piece of Kerryn Levy’s ceramic work is hand-built using Australian stoneware.

This work is part of Kerryn Levy’s latest series, The Moon, She Calls to Her Daughters. This collection is a captivating exploration of anthropomorphic artistry, comprising sculptural vessels and wall sculptures inspired by Ley Line’s adaptation of the Brazilian folk song “Ciranda.” Informed by the lyrical richness of “Ciranda,” Levy’s work extends beyond the auditory to visually embody the inherent connection between the human body and the surrounding landscape.

Kerryn says of her work: “I listened to this song repeatedly as I made works in my studio and felt enticed by the vision of women being drawn to the water under the moonlight, gathering – it felt powerful, mysterious, and magical.

“The tones in this series are cool, and silvery, evoking memories of nights swimming in the ocean under the moonlight. I wanted to experiment with new glazes and textures, in particular: metallic and crater glazes to reference the moon and its light catching on the water. Several pieces from this body of work are finished with an application of silver lustre and an additional firing, with results ranging from glossy, mirror-like silver to a more muted and textured silver to a bright, cast-silver finish. Other pieces glazed in darker colours have additions of silver leaf kintsugi details. Most importantly, I wanted to create a sense of movement in each piece, whether it be in the form itself, the textured surfaces or how the glaze catches the light – like dancing figures lit up in the night.

“Each piece is built slowly and methodically using individually rolled coils, starting with a flat base, and working my way up until I’m happy with the form. Similarly, the wall sculptures begin as a sketch in clay and are then built upwards and closed over. My finger marks can be seen in the finished work, naturally forming a pattern on the surface of the clay, and providing a visual representation of the making process. Each object has an inherent connection to the human body and the landscape whence they came.”

Onishi Vessel #23.046 is pictured in details with Nectar.