Studio Pieter Stockmans

Crisp lines. Frosty blues and whites. Nesting, stacking, and parading multiples. Highly intellectualized design. These are the characteristics of the porcelain tableware that comes out of the Pieter Stockmans Studio in Belgium. Stockmans has been wowing the art and high-end restaurant and design world almost since the day he opened shop.

And though not the sort of ceramics I love most, I did find the book Studio Pieter Stockmans worth adding to my library. Many of the pots are shown with food, such as two square white plates with blue rims, stacked crisscrossed, with a string-tied bundle of chives set diagonally on the top plate, and a close up of his champagne “glasses,” slim, translucent cylinders, blue rimmed, with a stream of champagne flowing into one of the glasses. There are also photos of table settings, indoors and out, and restaurant interiors. I very much liked seeing the pots in use.

Stockmans also does architectural and furniture collaborations. I particularly liked the porcelain “papers” that he has “tacked” to the exterior of the De Rip Town Hall, and stacked on s corner of the roof, referencing the work of the bureaucracy that takes place within. Very humorous.

Light on text, the book contains bilingual essays by his daughter Widukind, who, with her husband, works with Pieter, and Jo Rombouts the Director of Porcelain. They give us the briefest glimpse of what the working processes are like (oh so different from those of us working at our wheels in one-woman studios). He is hands-on, but not in the sense that he makes each and every piece, start to finish all by himself. This is an atelier with a team of workers. He is the designer-artist and the leader.

Note: It became customary to show solitary pots on neutral backgrounds decades ago when jurors began looking at slides for shows. This was also at a time when many ceramicists were downplaying the functional aspects of their pots and trying to focus on the art  (the never ending art versus craft argument). But reading this book, it seems to me that now and then, when photographing work, we need to rethink our old habits and show them in situ and in use.

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