ARTISTS TALKING

The Oriental Museum's collection enables us to view Ivar Mackay's studio porcelain alongside his influences – the Chinese ceramics of the early dynasties. Although the curation makes no direct connection between individual pieces, Mackay's vessel shapes, glazes and throwing technique, link him to the past. Conventions of decorative embellishment are not his chief concern: he prefers pure celadon or copper red, or painterly glaze effects. Through his working process Mackay 're-discovers' or 're-invents' ancient forms. He does not do pastiche.

Partridge spotted tenmoku glaze – amber spots on dense, glossy black – on a number of rounded pots, calls to mind the breasts of birds. Copper red on a jun glaze, on a large robust jar, is evocative of a bank of cloud bursting to downpour – glaze has run down the jar and gathered in a hardened glob at the base. By incorporating his own experience of, and sense of connection to, the natural world, Mackay personalises his gleanings from tradition.

Low narrow foot bowl cobalt on celadon is one of many pieces with delicate shape, fine finish and seductive luminosity. Small beaker, speckled copper red, has a rich tonal range and vibrant colour – from dense, blood red to cream through varying intensities of speckle markings. Taking a side view and turning the beaker in your hand, the fluctuating surface pattern has the engaging optical effect of repeatedly expanding and contracting the contours of this exquisite pot.

'Sky After Rain' provides intriguing insights into how this artist upholds a craft tradition while exploring a personal vision. Certainly worth a visit: you'll see beautiful pots – Mackay's and those from the museum's collection.