Strauss & co - 5 March 2018, Cape Town

201 501 500 to the fact that the materials required had to be imported. Rall observes that Armstrong “became determined to make up a body using suitable South African materials that could replace the expensive imported products and develop a medium that suited her own particular needs. After conducting many test and working with the medium, she developed a body that consisted of local and imported materials which, in its fired state, emulates the hardness, whiteness and translucency of the European version”. 2 In her artist’s statement Armstrong sums up her intentions by describing her ceramics as “an extension of myself; imperfect, translucent, with embedded debris from colonial collisions, just like the shipwrecks along our coast from centuries past”. 3 1. Michelle Rall in Brendan Bell and Bryony Clark (eds). (2014) For Juliet: Ceramic Sculptor 1950 to 2012 . Pietermaritzburg: The Tatham Art Gallery. Page 37. 2. Ibid., Page 38. 3. Juliet Armstrong in Jenny Stretton. (2012) All Fired Up: Conversations between Kiln and Collection . Durban, Durban Art Gallery. Page 6. 500 Juliet Armstrong SOUTH AFRICAN 1950-2012 Paper Form circa 2006 bone china (poured slip), turned warthog ivory feet height: 12cm R  –   *This lot is not suitable for export LITERATURE Brendan Bell and Bryony Clark (eds) (2014) For Juliet: Ceramic Sculptor 1950 to 2012 . Pietermaritzburg: The Tatham Art Gallery. Illustrated in colour on page 113. 501 Juliet Armstrong SOUTH AFRICAN 1950-2012 Untitled (Black Spot II) circa 2007 bone china (cast and manipulated) height: 15cm R  –   Two early influences that were seminal in Juliet Armstrong’s career as a ceramicist were Hilda Ditchburn and Malcolm MacIntyre-Read who had both studied Central St Martins in London. interest in materials which saw her gain critical acclaim for her sculptural forms constructed from bone-china. Her abiding fascination with the incandescent qualities of bone-china led Armstrong to regard her “ceramic sculpture using mainly translucent materials as a defining aspect of her work”. 1 The technical challenges that saw her achieve this signature translucency dominated much of her research from the late 1970’s, which also proved to be costly due