Upritchard is an adept collaborator and these works are evidence of a natural chemistry between artist and place, in particular between her and the artisans working in the Lux ceramic studio. Thrown on a pottery wheel, faces emerge from the otherwise smooth surfaces, augmented by painted marks, patterns and glazes. Her pots evoke a sense of artifacts or anthropological objects but resist those categorizations—challenging the viewer to look again, inviting a level of mystery and implying a level of understanding that avoids capture. Installed on a series of plinths that recall the kind of didactic presentation common in museums, Upritchard makes a nod to the tone of wonder often conveyed through the institutional presentation of objects.
Also, on view are a series of small-scale works on paper. These drawings are sketched in washy volumes of watercolor and depict vessels, figures, and fluorescent lizards. Painted in a loose freehand, they foreshadow many of the marks and patterns that emerge on the surfaces of her ceramics.