Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.\u201cIt\u2019s just an excuse to hang out, really,\u201d says Jeremy Brown of the new collaboration between Feldspar, the Devon-based ceramics brand he runs with his wife Cath, and English-Indian artist Tanya Ling. \u201cIt\u2019s a friendship where we get to make stuff.\u201d\u00a0What they have made together is a version of Feldspar\u2019s classic-with-a-twist bone china tableware. Each bowl, mug or teapot has been hand-painted by Ling with a \u201csash\u201d motif \u2014 a running ribbon of \u201cclassic cobalt\u201d that echoes the fluid ink drawings she has been making for the past decade. \u201cThere\u2019s something about blue and white,\u201d she says. \u201cIt has a precedent in the history of ceramics \u2014 Delft tiles, Wedgwood \u2014 but it\u2019s also Yves Klein. It\u2019s Matisse.\u201d\u00a0Feldspar was launched by the Browns when they moved from London to Devon in 2016 and has become known for its elegantly uneven designs in crisp white china punctuated with either gold or colourful details. All its wares are slip cast (by pouring liquid clay into plaster moulds) in the UK. \u201cJeremy\u2019s designs are like personalities, with all their wibbles and wobbles,\u201d says Ling, \u201cbut they have this utter sophistication. I love how the spout of his teapot is shaped like Magritte\u2019s painting of a pipe.\u201dThe Feldspar duo first came across Ling\u2019s work over meetings with boutique owner Alex Eagle \u2014 one of their first stockists (which now include Liberty, Harrods and Lane Crawford in Hong Kong), and one of Ling\u2019s first collectors. They instantly felt an aesthetic alignment between their practices. \u201cSomeone asked us who we\u2019d most like to collaborate with and we said Tanya Ling, but we didn\u2019t know her,\u201d recalls Jeremy. \u201cWe didn\u2019t think anything of it really \u2014 and then Tanya contacted us on Instagram a couple of weeks later.\u201d\u00a0Their first collaboration was in 2021. \u201cWe didn\u2019t have a plan at first,\u201d says Cath. \u201cTanya came to stay with us and then we just experimented in the workshop.\u201d Jeremy adds: \u201cWe got all these pieces ready for Tanya; some dried bits of clay, some freshly cast, and everything in between.\u201d\u00a0\u201cThey just let me mash them up and destroy them,\u201d says Ling, who turned the existing Feldspar pieces into a series of ad hoc sculptures.\u201cI still don\u2019t understand how it worked,\u201d continues Jeremy. \u201cTanya did everything the traditionally wrong way. I was like, \u2018it\u2019s all going to explode in the kiln!\u2019 But everything came out perfectly.\u201d\u00a0It seems like chaos\u2009.\u2009.\u2009.\u2009I just literally turn up and stuff happens. But now something logical, sensible and practical has come aboutWhat emerged alongside the precarious bone china configurations was \u201can unexpected chemistry and friendship\u201d, says Ling. She and her husband, art dealer William Ling, have since become regular visitors to the Browns\u2019 Dartmoor home and studio, a former farm building where they live with their three young children. Their way of working together has remained largely unstructured. \u201cIt seems like chaos\u2009.\u2009.\u2009. I just literally turn up and stuff happens,\u201d says Ling. \u201cBut now something logical, sensible and practical has come about,\u201d she adds, nodding to the new pieces, which range in price from \u00a394 for an ice-cream bowl or cake plate to \u00a3540 for a cafeti\u00e8re.\u00a0\u201cWe work in opposite ways,\u201d says Jeremy of his and Ling\u2019s relationship. \u201cI do everything like it\u2019s painful. I\u2019m not enjoying it. The people around me aren\u2019t enjoying it. Whereas Tanya is such a ball of energy and positivity. Even if I\u2019m working on something separate, I\u2019ll often give Tanya or William a call. It\u2019s like dial-a-cheerleader.\u201d\u00a0While the Feldspar process is exacting, \u201cmy work is kind of immediate,\u201d says Ling, \u201clike getting on a horse and just riding\u201d. Her current show at London\u2019s Lyndsey Ingram Gallery is titled Incitatus (Latin for \u201cat full gallop\u201d). \u201cIt all started because I used to think I was a horse as a child,\u201d says Ling, matter-of-factly. In the former 19th-century stable space, her sparse line drawings have intensified into paintings: multicoloured impasto tangles. There are knotty sculptural forms, too, which resemble ceramics but are in fact constructed in a mix of salt, flour and water. \u201cI just made them in my oven,\u201d she says.\u00a0The new Tanya Ling x Feldspar pieces will also be launched in the gallery. \u201cI\u2019m trying to make a table to show them on as well; a walnut and bone-china mix \u2014 with Tanya\u2019s sash,\u201d says Jeremy.\u00a0This year, Feldspar is planning to branch into ceramic lighting as well as wooden furniture. Ling, meanwhile, has a more personal project in mind: tiles for a swimming pool at her home in south-west France. \u201cI can picture it now,\u201d says Jeremy. \u201cWe basically plan to do a collaboration every year until we retire, because it\u2019s so much fun.\u201dfeldspar.studioTanya Ling\u2019s exhibition of paintings and sculptures, \u2018Incitatus\u2019, is at the Lyndsey Ingram Gallery, 26 Bourdon Street, London, until March 14Find out about our latest stories first \u2014 follow @ft_houseandhome on Instagram<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.\u201cIt\u2019s just an excuse to hang out, really,\u201d says Jeremy Brown of the new collaboration between Feldspar, the Devon-based ceramics brand he runs with his wife<\/p>\n","protected":false},"author":1,"featured_media":220449,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":["post-220448","post","type-post","status-publish","format-standard","has-post-thumbnail","category-culture"],"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/220448","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=220448"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/220448\/revisions"}],"predecessor-version":[{"id":220450,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/220448\/revisions\/220450"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/220449"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=220448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=220448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=220448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}