The Aquatherapie vessels draw inspiration and allusion from marine archaeology, exploring a sense of historical artefact and ancient decay. The forms reference utilitarian vessels from Greece (the amphora), visible in the full-bodied vessels with narrow necks and lugs or handles. As with all Alana Wilson pieces, the finishing has been carefully considered and the narrow bases and fine edges depict the fragility and lightness of the vessels. Although depicting functional forms, the refined intricacies of the vessels are distinctly non-functional.
Experimental glazing and technological trials result in the range of built up hues and textures within the surfaces, whether bold marine blues and teals, or subtle dappled pastels and whites. Surfaces were inspired by textures of coral reefs, sea creatures and built up marine layers of decay and sediment. There is a continuation of an inherent calmness in the works, a recurring thread in Wilson's practice.
The Mirage vessels (shallow open bowls with very narrow feet) reference the singularity and simplistic nature of contemporary religious architecture, a type of ceremonial vessel that stands strong on its own. When fired, layers of texture rest differently in the shallow footed bowls to the layers the catch and cascade on the shoulders of the Amphora vessels.
Neolithic bowls (large open vessels, referencing forms from Neolithic Chinese collections) allow large amounts of light to render the textures and surface within the form. The layers of slip and glaze pool and rest in the heat of the kiln differently to the convex shoulders of the Amphora vessels.
Amphora (I-IV) are made to sit on small acrylic bases. By placing them on a plinth of sorts they read as if in a museum, originally utilitarian but over time having achieved an objective status in social, anthropological and art history.