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Hourglass Openwork Table with Walnut Top | Side Table in Tables by Lynne Meade. Item made of walnut with stoneware
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Created and Sold by Lynne Meade

Lynne Meade

Hourglass Openwork Table with Walnut Top

Price $3,200

Creation: 1-3 weeks
Shipping: FedEx 3-5 days
Price $45 Shipping in the US, ask the creator about international shipping.
Estimated Arrival: January 24, 2025

Handmade

Woman Owned

Made In USA

Made To Order

DimensionsWeight
21H x 17W x 17D in
53.34H x 43.18W x 43.18D cm
20.41 kg
45 lb

Inspired by mid-century modern design, the pierced collection is wheel-thrown and hand-pierced stoneware with a satin glaze. Small holes are created when the clay is still wet and then each hole is painstakingly enlarged and smoothed when the clay is bone dry. The tabletop is made of walnut with an oil and varnish finish for durability. The tabletop is removable for easy cleaning, but there is a walnut flange on the underside to help hold the top in place. The interplay of light and shadow, color and form complements any urban, contemporary or transitional space.

• Color: White Satin, Brown
• Material: White Stoneware
• Shape: Hourglass
• Pattern: Openwork
• Top: Walnut, oil and varnish finish
• Designed and handcrafted in Oakland, CA.

Top is removable for cleaning


DETAILS
Pierced ceramic decor, furniture, lighting and tabletop are made-to-order.
Certain styles and colors are on Quick Ship.
Custom sizes and colors are available.
Commissions for different shapes are welcome.
Lead time is 1 to 3 weeks. Custom orders can take up to 5 to 6 weeks.

Item Hourglass Openwork Table with Walnut Top
Created by Lynne Meade
As seen in Creator's Studio, CO, CO
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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