| The use of found objects is a central theme in pique | | | | discarded materials has a feel-good factor attached |
| assiette. Found objects lend a particular richness to | | | | to it, and makes a positive statement. |
| the work and bring with them meaning and | | | | In addition, there's something satisfyingly postmodern |
| symbolism. On the one hand there is the mystique, | | | | in extracting unexpected motifs from the most |
| the unknown, stemming from that part of their | | | | horrible and uninspiring tableware. It can seem like an |
| history that has to be guessed at. On the other hand | | | | act of cultural subversion to deconstruct previously |
| there is the particular story of the chance events | | | | popular designs and breathe new life into them. |
| that allowed them to be found. The circumstances, | | | | It is also true that domestic ceramics have many |
| the place, the time, all become embedded in the | | | | qualities that make them a material of choice for |
| object. | | | | artists. The range of glazes, colours and textures can |
| This type of mosaic, particularly where the items are | | | | be greater than is available with other mosaic |
| personal ones, is sometimes referred to as | | | | materials. Curved surfaces give reflective effects and |
| "shardware" or "memoryware". Just as hints of smells | | | | the three dimensional nature of crockery fragments |
| can trigger vivid memories, fragments of the objects | | | | adds physical depth. |
| or patterns we have around us at different times in | | | | A pique assiette mosaic can be seen as a collage of |
| our lives can be very evocative, carrying associations | | | | found and prepared objects, rearranged into new |
| with people, places, events. Also, items of | | | | combinations. This montage approach gives wide |
| sentimental value that have been damaged beyond | | | | scope for imagination and innovation, as in any mixed |
| repair can be given a new lease of life, using the | | | | media assemblage. It also generates the humour |
| techniques of pique assiette. | | | | often associated with pique assiette. As objects are |
| For many, hunting for materials is an important part | | | | given new roles or used in unexpected ways, they |
| of the creative experience. Found objects are by | | | | make the viewer consider everyday items in a |
| their very nature unpredictable - charity shops, jumble | | | | different context. |
| sales, car boot sales can produce treasures, while | | | | This type of mosaic work has more levels of |
| flower beds and skips (dumpsters) may also yield | | | | appreciation than might first appear, and it draws on |
| gems to the eagle-eyed and appreciative. This is | | | | a long history of influential examples. As a folk |
| something that might be called "urban beachcombing". | | | | tradition, or a craft hobby, it is certainly art that |
| Whether it is a hunter-gatherer instinct or a joyfully | | | | anyone can have a share in, yet it offers scope for |
| obsessive magpie tendency, the process of | | | | strong personal statements, originality, visual puns, |
| discovery becomes part of the finished article. | | | | exuberance and the happy accidents of serendipity. |
| There are contemporary aspects that add extra | | | | It can bring order to chaos, or vice versa, depending |
| meaning to pique assiette. The current importance | | | | on the mood of the maker. |
| given to recycling means that creative use of | | | | |