It's hard to improve on the egg...
Eggs, with their perfect, and wonderfully varied form, we're better off simply contemplating and appreciating their vast greatness. Some are rounder, others narrower. There are those with speckles, and those without. And eggs that hold geckos are smaller than those that hold geese. But even with their range of character, eggs cannot shed themselves of (hatch themselves from?) iconicity.
Given such broad and abundant perfection, it's a sign of wisdom when artists suggest, rather than replicate, the sacred, egged form. Even when said suggestion is incidental? Accidental? Unintentional?
Perhaps this can be said of Pippin Drysdale's Tanami and Kimberley series, both of which were recent features on OhJoy. Drysdale's work is intriguing... beautiful... colorful... and a tad odd... all qualities that Rural Modernists know and attract in art and design.
Just as Furniturea is inspired by Maine's built environment, Drysdale's ceramics reflect careful and thoughtful study of Australia's natural desert environment. Neither Furniturea nor Drysdale is in the business of replicating, mirroring or depicting literally its source of inspiration; rather they both create in the spirit of their surroundings.
It's in the spirit space where viewers can see what they want to see. Whether rustic, modern, or egg, our ability to interpret and attribute has as much to do with our own imagination as it does the designers' interest and comfort in those realms of ambiguity that lie just outside the "real" and "actual" thing.