Willow Pattern Wemyss Ware Cats
Deliberately risking epistemological overkill, Ware includes an elaborate concept map with his two basic panels–exploding the idea of any two panels being basic at all. The concept map expounds upon the complex causes, implications, and associations of the single action taking place in the two ‘mouse-and-cat head’ panels.
The Ware Manufacturing Playground-N-Lounge is the scratching post your cat has been waiting for. With three posts with different textures it is sure to please your cat. Perched at the top of the posts is a textured pedestal for your cat to sit atop. The Playground-N-Lounge has multiple uses, it is the spot to stretch, play, scratch and sleep.
And if all this medium muscle flexing were not enough, tiny clocks between images portray gutters as hinges of durational time. In the reverse bathos of the exam that moves from the stock routine of the funny animal pratfall to these scenes of sublime instruction, observers become pupils of the sheer grandiosity of Ware’s project. We enroll in Ware’s school of sensual and temporal reading education. And we are proud to do so, since this is clearly an elite and prestigious institution given all the apparent complexity and in spite of its childish and laughable faculty members.The combination of these other picture-teachers and the simple pratfall comic strip creates a sort of crisis of meaning in That crisis is reminiscent of Yellow Kid comics. Ware’s cat and mouse test aligns with the banners that recur throughout the Yellow Kid, which translate crises of community into crises of spectacle, crises of closure.The relationship between this expansive and intricate configuration of panel sequences and the tiny ‘mouse-and-cat head’ panels is central in all of this. That relationship helps us to understand Ware’s use of other instructional pictorial genres such as blueprints, flowcharts, how-to diagrams, commercial signs, and musical scores.The Wemyss name was resurrected in the 1980s when Griselda Hill became interested in pottery while teaching art in London. She moved to Fife in 1984, and after seeing Wemyss Ware in the , she decided to create Wemyss Ware-inspired pottery. Since the first figure, a cat modelled on an original displayed in the museum, was produced, the line has grown. In 1994, the Wemyss Ware trademark was acquired by the Griselda Hill Pottery in . Esther Weeks taught the painters at Ceres techniques she learned from Joseph Nekola at Bovey.Ware’s profuse dissection exhibits a circuitous approach to death. His ‘mouse-and-cat head’ panels meander through mourning, lamenting the loss of reason and causality by so obsessively insisting upon them. No mere avoidance strategy, the visual puzzle of the ‘mouse-and-cat head’ panels is our preludial entry into the world of Jimmy Corrigan. It is a metonymy for the symbolic child that schools us on the bewildering architectures of comics reading.