In this show, funnel forms predominate. Their capacity to facilitate flow from one place to another lends metaphoric capacity, and like the Tin Man’s nose, they fulfill functions beyond their category as utensils. The Hole series, those pieces where funnel forms balance on prow-like boxes, require a stretch of the imagination, since their form indicates containment and release simultaneously. The salsa-dipped surfaces of these funnels reiterate an almost repulsive physicality, while their colour orchestration begs reason. Comet-like tails of glaze connect the funnels to base vessels, lending associations of celestial bodies in flux, a poignant gesture for the ash-bearing urns which motivated this form in Thomson’s repertoire. read more...