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White Pierced Pottery | Sculptures by Lynne Meade. Item made of ceramic
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Image credit: Karen Herzog
White Pierced Pottery | Sculptures by Lynne Meade. Item made of ceramic
White Pierced Pottery | Sculptures by Lynne Meade. Item made of ceramic

Created and Sold by Lynne Meade

White Pierced Pottery - Sculptures

Price £1,694

$ Unlock Trade Discount
Creation: 4-6 weeks
Shipping: FedEx 4-6 days
Shipping rates finalized within 2 business days of checkout. You will be asked to approve cost before payment
Estimated Arrival: December 10, 2026

Handmade

Woman Owned

Made In USA

Made To Order

DimensionsWeight
10H x 14W in
25.4H x 35.56W cm
3.63 kg
8 lb
The contrast of the warm wood, the lush green, and the cold white is so compelling. Seeing my work in this kind of environment completes it for me in a way. Thank you to Richard Sachs and Karen Herzog for a beautiful photoshoot. And thanks to the Roswell family for lending us their perfectly appointed and lovely Palo Alto home.

Category: Sculptures

See Creator Policy
Item White Pierced Pottery
Created by Lynne Meade
As seen in Private Residence, Palo Alto, CA
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Lynne Meade
Meet the Creator

Lynne Meade

Oakland, CA

Wescover creator since 2020
Wheel thrown, hand pierced pottery

All of my pieces are wheel thrown and hand pierced. Everything is done by eye, without molds or templates. I initially pierce the piece about two hours after I throw it. I pierce it while it is still fairly wet so that it won’t crack. But the holes are much smaller at this point, so that the piece won’t collapse. I then go back when the piece is completely dry and the clay is rigid, and painstakingly enlarge each hole with a damp sponge. The water in the sponge erodes away the bone dry clay, allowing me to take away as much clay as possible
I love to push the medium as far as I can, seeing how little clay I can leave while still maintaining the structural integrity of the piece. People often ask me why they don’t collapse and I tell them that they often do. Most of the time the problems happen during the hottest part of the firing process. The clay becomes slightly molten and the more lacy pieces can slump or collapse. It is a careful balance between achieving the delicate appearance that I want and not creating a kiln disaster.
I also strive to blur the boundaries between form and function, and function and art. I was trained as a traditional, functional potter. I will probably always want to create tableware and functional pieces, but also can’t seem to resist rebelling against function, and the constraints and limitations of functional ware, just to see how far I can take the clay. It’s all about strength in the form of delicacy

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