{"id":42684,"date":"2026-01-08T07:11:50","date_gmt":"2026-01-08T11:11:50","guid":{"rendered":"https:\/\/www.ceramicsnow.org\/?p=42684"},"modified":"2026-01-08T07:11:51","modified_gmt":"2026-01-08T11:11:51","slug":"katie-strachan-selected-works-2021-2025","status":"publish","type":"post","link":"https:\/\/www.ceramicsnow.org\/artworks\/katie-strachan-selected-works-2021-2025\/","title":{"rendered":"Katie Strachan: Selected works, 2021-2025"},"content":{"rendered":"\n
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\"\"<\/a>
Black swan<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Envelop #1<\/figcaption><\/figure>\n\n\n\n
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Envelop #3<\/figcaption><\/figure>\n\n\n\n
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Prolongation #1<\/figcaption><\/figure>\n\n\n\n
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Envelop #2<\/figcaption><\/figure>\n\n\n\n
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Prolongation #2<\/figcaption><\/figure>\n\n\n\n
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Prolongation #3<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Rhythm & Accumulation #1<\/figcaption><\/figure>\n\n\n\n
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Rhythm & Accumulation #2<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Subversive preservation #1<\/figcaption><\/figure>\n\n\n\n
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Subversive preservation #2<\/figcaption><\/figure>\n\n\n\n
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Subversive preservation #3<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #1<\/figcaption><\/figure>\n\n\n\n
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with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #2<\/figcaption><\/figure>\n\n\n\n
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with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #3<\/figcaption><\/figure>\n\n\n\n
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with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #4<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Katie Strachan<\/a>: Selected works, 2021-2025<\/h2>\n\n\n\n

My work explores the fragile boundaries between preservation and decay, materiality and time. Using ultra-thin layers of clay\u2014sometimes folded, sometimes powdered\u2014I create forms that echo textiles, manuscripts, and relics. Influenced by boro textiles and the Japanese concept of impermanence, my process is rooted in quiet, repetitive gestures that leave behind traces of care and erosion. Through ceramic, wax, and other humble materials, I aim to hold fleeting moments in suspension, inviting viewers to pause and reflect on the quiet persistence of memory. My works function less as vessels and more as tactile documents\u2014thresholds between presence and absence, stillness and transformation.<\/p>\n\n\n\n

Captions<\/p>\n\n\n\n

  • Black swan, 2024, black clay and wax, 40x36x17H cm<\/li>
  • Envelop #1, 2024, terra cotta, 44x20x5.5H cm
    Envelop #2, 2025, porcelain, white clay, black clay and rutile, 17x47xH5 cm
    Envelop #3, 2025, porcelain and white clay, 27x40x5H<\/li>
  • Prolongation #1, 2021, porcelain & wax, 40x32x6H cm. Photo credit: Yuji Imamura
    Prolongation #2, 2021, porcelain & wax, 46.5x30x7H cm. Photo credit: Yuji Imamura
    Prolongation #3, 2021, porcelain & wax, 33x24x20H cm. Photo credit: Jason Goh<\/li>
  • Rhythm & Accumulation #1, 2025, white clay and porcelain, 27x50x2 cm
    Rhythm & Accumulation #2, 2025, terra cotta and white clay, 27x29x2 cm<\/li>
  • Subversive preservation #1, 2022, porcelain, terra cotta and wax, 10.2 x 20.3 x 10.2 cm
    Subversive preservation #2, 2022, porcelain, terra cotta and wax, 17x17x16H cm
    Subversive preservation #3, installation, 2022. Photo credit: Chin Chin Gallery<\/li>
  • with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #1, Installation 2022, porcelain, terra cotta and wax and felt, 56x50x27H cm. Photo credit: Jason Goh
    with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #2, Installation 2022, porcelain, terra cotta and wax and felt, 56x50x27H cm. Photo credit: Jason Goh
    with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #3, Installation 2022, porcelain, terra cotta and wax and felt, 56x50x27H cm. Photo credit: Jason Goh
    with-out A \u0336s\u0336 \u0336o\u0336 \u0336u\u0336 \u0336n\u0336 \u0336d\u0336 #4, Installation, 2022, terra cotta, wax, wood and iron, 140x35x70H. Photo credit: Jason Goh<\/li><\/ul>\n","protected":false},"excerpt":{"rendered":"

    Katie Strachan: Selected works, 2021-2025 My work explores the fragile boundaries between preservation and decay, materiality and time. Using ultra-thin layers of clay\u2014sometimes folded, sometimes powdered\u2014I create forms that echo textiles, manuscripts, and relics. Influenced by boro textiles and the Japanese concept of impermanence, my process is rooted in quiet, repetitive gestures that leave behind […]<\/p>\n","protected":false},"author":1,"featured_media":42686,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[3595],"tags":[7219],"_links":{"self":[{"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/posts\/42684"}],"collection":[{"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/comments?post=42684"}],"version-history":[{"count":1,"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/posts\/42684\/revisions"}],"predecessor-version":[{"id":42706,"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/posts\/42684\/revisions\/42706"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/media\/42686"}],"wp:attachment":[{"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/media?parent=42684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/categories?post=42684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ceramicsnow.org\/wp-json\/wp\/v2\/tags?post=42684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}