Christine Harris was one of the first New Zealanders to make colourful, casual slipcast household pottery. This post tells how she began as a one-person operation, selling her work at the Auckland markets. My next instalment will tell the story of Studio Ceramics, where her designs were made on a commercial scale.
This post includes photos from news clippings given to me by Christine. I have noted the source when available.
From the New Zealand Herald 2 June 1988
Through most of the
1980s Christine Harris was working very long hours at her one-person operation.
Then came the 1987 stock market crash. Many collectors lost their funds and could no longer pay
for large art vases. Christine quickly realised that her economic future lay in mass-producing smaller, less expensive pieces, especially the very popular Floral pattern dinnerware. Friends encouraged Christine to find a way to set up a factory - and that story will be told in my next post.
Above: Floral dinnerware in 1990. Image from 'Christine Harris Ceramics' brochure.
ENDS
Christine Harris was a young mother living in Gisborne when
she first learned to throw pots on a wheel.
In the late 1970s she moved back to Auckland with
her small daughter Carly. After a successful venture into stone sculpture, Christine returned to ceramics, this time
making and hand-painting slipcast ware. Along with a handful of other pioneer designers she injected a jolt of
colour and style into a market previously dominated by earthy brown studio
pottery.
Above: an early Hibiscus pattern bowl handcast by Christine Harris when she was still learning
her craft. It was made in about 1983. Christine used variations on the 'CH' mark throughout her working life.
Valerie Monk collection
By about 1983 Christine was selling boldly coloured platters, mugs,
bowls and vases at Auckland’s busy Victoria Park Market. Later, an assistant was hired to sell at the Oriental Markets. Although
her work was still clearly experimental, Christine could barely keep up with
demand. Some ware was cast at the workshop, but like many contemporaries Christine also bought ready-made blanks from
Western Potters Supplies and decorated them for sale.
Even at this early stage
the focus was on designs which were quick to decorate and instantly
appealing. Buyers queued for her work,
especially for mugs with black and white stripes or bright blobs of cobalt
blue. Christine also experimented with
teapots and cups and saucers. At first her decorations were hand-painted onto
greenware then coated in clear glaze and fired. Later, decorated ware was
bisque fired then clear glazed and fired again.
Above: an early duo, hand
painted in the pattern which was later known as Pacifico.
Valerie Monk collection.
As Christine’s skills increased, she became
more adventurous with colour and shape. Based in a series of small studios
around central Auckland, including D’Art Studios and City Workshops, she worked
alongside Bob Steiner and other up-and-coming artists. At one stage the Limbs dance company rehearsed upstairs. With advice from colleagues and from staff at Western Potters Supplies, Christine learned to shape, decorate and
fire ceramics to a professional standard.
She made quirky vases, candlesticks, ‘happy pots’ and the occasional
sculpture in bright colours and metallic glazes. Black and white stripes and spots were
recurring themes.
Above: handbuilt vases from the mid to late 1980s. Image from 'Christine Harris Ceramics' brochure, 1990
Above: This hand-built bowl is from a 1987 series Christine called ‘Rough and Ready.’
Height 7cm W15.
Valerie Monk collection.
Christine says her slipcast
and hand-built shapes and designs were deliberately ‘a bit wonky’ as opposed to
the precise output of more traditional manufacturers.
Above: hand- decorated Memphis
style vases.
Image from 'Buying from New Zealand.' Clipping undated, C1988
Above: ‘Happy Pots’ from 1990. Slipcast bodies were embellished with
hand-built arms, legs and hats. Image from New Zealand 1990 Official Souvenir Publication.
Above: a vase from 1987. The exterior is hand-decorated with a matt finish. The interior is glazed in shiny white. Christine usually dated her art pieces. Height 23 cm.
Valerie Monk collection.
By the mid-1980s, Christine’s
colourful work was stocked by upmarket design stores, where her towering Memphis-style vases sold for hundreds of dollars. A few pieces found their
way overseas and one even featured in the New Yorker magazine.
Above: a large vase in the Black Geometric
pattern.
Image from 'Christine Harris Ceramics' brochure, 1990
A pair of white vases with flashes of gold
were accepted for the 1985 Fletcher Brownbuilt ceramics awards but were unplaced. They were marred by firing
cracks - Christine says she was still having technical problems with these
complex shapes.
Above: a vase in the same style as the Fletcher Brownbuilt entry.
Image from 'More for House and Garden' magazine, clipping undated
ENDS
