Win! Our Beautiful Shakespeare Swan!

To celebrate the 450th anniversary of Shakespeare’s birth on 23 April 1564, we have commissioned this beautiful and entirely original ceramic work from artist Hannah Tribe.
Titled ‘Sweet Swan of Avon’, it will make a uniquely perfect centrepiece to the writing desk of any Shakespeare fan.
To be in with a chance of winning our lovely swan, simply send an email to shakespearemag@outlook.com with ‘Swan Comp’ in the subject line.
Don’t forget to include your name, address, postcode and contact number. We will accept entries from outside the UK, but please be sure to include full contact details.
The closing date for this competition is Monday 26 May – and may fortune favour you!

Shakespeare Magazine's unique ceramic swan.

Shakespeare Magazine’s unique ceramic swan.

 

Ceramic artist Hannah Tribe writes:
“Shakespeare symbolism is woven all the way through this piece, made from unglazed porcelain to produce a tactile surface which sings gently when handled. It is inscribed with the words of the poet and playwright Ben Jonson (1572-1637) who unforgettably eulogised his friend William Shakespeare as the ‘Sweet swan of Avon’.
“Shakespeare himself used the swan as an allegory for beauty in Romeo and Juliet. Benvolio persuades Romeo to forget about Rosalind with the word “I will make thee think thy swan a crow”. The graceful swan also draws parallels with Hamlet’s Ophelia, floating in the water “incapable of her own distress”. The flowers nestled within the swan’s back represent those Ophelia collects during the play – daisies for innocence and purity, pansies for unrequited love. The other flowers are intended to evoke Sir John Everett Millais’ painting of Ophelia, which was itself rich with the language of flowers.”

Ceramic artist Hannah Tribe.

Ceramic artist Hannah Tribe.

 

“A passion for making” is what led young Welsh artist Hannah Tribe to study Drawing and Applied Art at the University of the West of England. Here, she developed an interest in creating work using techniques associated with notions of traditional female craft. In so doing, she attempts to address the everyday conflicts between feminism and femininity. She continues to experiment with works in embroidery, floristry, cake decoration and ceramics.

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