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America Age > Blog > Art & Books > Xanthe Somers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels
Art & Books

Xanthe Somers Weaves Themes of Labor and Visibility in Bold Ceramic Vessels

Enspirers | Editorial Board
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“Clay is an incredible medium to hold narrative,” says Xanthe Somers, who turns to the medium as a way to explore themes around domesticity, craft, and so-called “women’s work” like cleaning, mending, working with textiles, and caregiving. When it comes to clay, she says, “I think mostly I am invigorated by its ability to hold—to hold water, to hold function, to give shape, to carry stories, and to carry meaning.”

Currently based in London, Somers grew up in Zimbabwe, where she observed inequities within the social structure that mirror many places around the world, especially in terms of gendered labor within the domestic sphere that often goes largely unseen and unacknowledged.

Xanthe Summers Weaves Themes of Labor and Visibility in Daring Ceramic Vessels
“Common Threads” (2025), glazed stoneware, 23.6 x 21.7 x 21.7 inches

She explains that “many homes have cleaners and gardeners who exist within this ‘invisible’ framework: caring for children, cooking their meals, and sometimes traveling for hours—and their work is underpaid, undervalued, and considered unskilled.”

Somers taps into ceramics, especially the archetypal vessel motif, to join the ever-evolving continuum of the medium. Throughout millennia and across myriad distinct cultures, the earthen material has found endless applications in the home, industry, and art.

“Clay has the unique ability to cross the boundaries between functionality, art, craft, class, and culture, and because of this, it is a vital medium to hold stories about humankind,” she says. “I understand clay to be an archive for the stories of humans.”

The vessels often take on figurative proportions, standing tall on plinths and exhibiting saturated hues, bold patterns, and tactile textures. Some of the pieces crumple, especially toward the top, as if hit with something or caving under some invisible weight.

a person walks through a white-wall gallery space filled with colorful, large-scale ceramic vessels
Installation view at Southern Guild, Cape Town. Photo courtesy of Southern Guild

The artist’s vessels tread the boundary between form and function and delve into another craft often associated with women’s labor: weaving. She describes how everything from the sheets we sleep on to the carpets we tread across to the clothes on our back can be “extrapolated to speak more broadly about domesticity, women’s work, and racialized spaces in Zimbabwe and the Global South.” She adds:

Weaving can be used as a wider metaphor for social cohesion—or lack thereof. This predicament is significant in Zimbabwe but is apparent the world over, where women’s work is undervalued.

Next year, Somers embarks on a trip to Guadalajara, Mexico, for a residency at Ceramica Suro, where she will learn from local ceramic artists, glassblowers, and weavers. And this October, you’ll be able to see her work at London’s 1-54, a fair dedicated to contemporary African art, which runs from October 16 to 19. Explore more on the artist’s website and Instagram.

a bright, colorful, large-scale ceramic vessel with white rings creating an overall pattern
“Woven Tales Stand Tall” (2022). Photo by Deniz Guzel
a detail of a ceramic sculpture showing white rings in the surface, with orange rings hanging off of those
Detail of “Woven Tales Stand Tall.” Photo by Deniz Guzel
an abstract ceramic sculpture of a woven vessel that has partially crumpled at the top
“By the Pricking of My Thumbs” (2025), glazed stoneware, 39.4 x 27.6 x 27.8 inches. Photo by Southern Guild and Hayden Phipps
a bright yellow, large-scale ceramic vessel with a woven texture and the word "OK" repeated in red across the surface
“Working Class Femininity” (2023), glazed stoneware, 41 x 19.8 x 19.8 inches. Photo by Deniz Guzel
an abstract ceramic sculpture of a woven vessel that has partially crumpled at the top
“Weaver’s Woe” (2024,), glazed stoneware, 22.4 x 19.7 x 19.7 inches. Photo by Deniz Guzel
a large-scale ceramic vessel painted black, with a woven texture
“Of Woof and Woe” (2024), glazed stoneware, 43.3 x 25.3 x 25.3 inches. Photo by Southern Guild and Hayden Phipps
artist Xanthe Summers in her studio surrounded by numerous, large-scale ceramic vases
Xanthe Summers in her studio

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