


Within her own work, Britton experiments with form in order to create pieces of asymmetric work often suggestive of the human torso. This relation to the human body is a recurring motif within the history of the vessel (apparent in other art forms such as painting: Picasso’s depiction of the female form as a yellow jug for example) due to its parallel to the female body. This aids in the personification of the vessel making it more approachable as an object.
Britton’s flamboyant vessels are not restricted by utilitarian concerns but instead aim to occupy space with individual geometric presence. Her desire to make jugs is due to the fact that they are active objects that “should be handled[1]”; however it is interesting that she does not create ergonomic forms. This encourages an individual relationship to develop between viewer and jug as interaction with her vessels becomes a personal experience. Britton’s vessels are constructed using hand-built slabs which are often worked into before being constructed. Mark-making in the clay adds another dimension to her vessels adding to the sensory experience of the viewer as surface as well as form is appealing to the touch.