BY MARK HEIDENREICH
Terra-Villa Handcrafted Ceramics
A principal storage vessel used in ancient Greek pottery, the two-handled pot with a neck narrower than the body was used for storage and as transport vessels for olives, grain, milk, oil, and wine. Decorative, painted amphora vases were used as decanters and were given as prizes.
Mark Heidenreich is a potter, sculptor and artist working in clay from his Terra-Villa studio in Adelaide. Mark has become most widely acclaimed for his ability to craft artistic works that are both impressive in their scale and beautiful in their form. He is known as the winemaker’s potter for his work producing traditional amphora vessels.
THE LIMITED EDITION 'AMPHORA' IS
STRICTLY FOR DECORATIVE USE ONLY
BY MARY-JEAN RICHARDSON
Kottabos was a game of skill played at Ancient Greek and Etruscan symposia (banquet-style celebrations). The game involved flinging wine sediment at a target placed in the middle of the room, with the target often placed atop a pole.
Depicted on the label is ‘Kottabos Recline’, where technique and dexterity were essential to maintain elegant form. The reclined players, propped up on one elbow, would place two fingers through the loop of one handle and cast wine dregs in a high-arc towards the target. Due to the way players threaded their fingers through the handle, the movement has been alikened to that of throwing a javelin spear.
A customary tradition in the 6th and 5th centuries (BC), ancient writers and artists made frequent allusions to the practice; depicted on contemporaneous red-figure vases (amphora).
BY MARY-JEAN RICHARDSON
Dionysus was the Olympian god of wine, vegetation, pleasure, festivity, and fertility. He created wine and spread the art of viticulture.
He had a dual nature; capable of evoking pure joy and divine ecstasy; or he would ignite brutal and blinding rage, thus reflecting the dual nature of wine.
THE LABEL ARTIST
Adelaide Central School of Art
Mary-Jean Richardson is a South Australian-based artist whose practice is specifically motivated by the interplay of traditions and transgression via painting mobility, mutability and capacity for reinvention.
Mary-Jean completed a Masters of Visual Art at the School of Art, Architecture and Design, University of South Australia, researching the legacy of eighteenth-century Gothic literary conventions within the ‘undead’ state of contemporary painting.
She has received various awards and grants to further her research and practice, including the AEAF Studio Residency at the British School at Rome in 2013. She is the Painting Department Head at Adelaide Central School of Art and actively exhibits locally and nationally, including projects at Greenaway Gallery, CACSA, SASA Gallery, The Jam Factory and Fontanelle Gallery.