Kate Metten Angular Mug
Inspired by mid-century modern Danish design, the 10oz Angular Mug by Kate Metten Ceramics is our go-to mug in our own Little River restaurant. Handcrafted in Vancouver, this café-style mug is a timeless piece in Kate’s signature style, mixing beauty and function. With its angular form and signature handle, it offers a sturdy, ergonomic grip that feels natural in the hand, making it ideal for your morning coffee or afternoon tea.
The thoughtful design goes beyond the aesthetic—the angular shape helps retain warmth, keeping your beverage at the perfect temperature longer. Glazed in a rich black velvet finish, it feels sophisticated while remaining versatile for everyday use and in every kitchen. As with all of Kate Metten’s work, this mug is crafted using a zero-waste model, incorporating recycled clay and locally sourced raw materials, aligning with Nimmo Bay’s values of sustainability and stewardship.
Durable enough for daily rituals, this mug is both microwave- and dishwasher-safe. If you’re looking for a handle to your mug—this is the pick for you.
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Contents
10 oz.
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Care Instructions
Durable and dishwasher-safe, it’s designed for everyday use while retaining its artisanal charm.
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Additional Details
Crafted from eco-conscious materials and finished using sustainable practices, each piece is a testament to mindful craftsmanship.
About Kate Metten
Kate Metten is an interdisciplinary artist whose material investigations into oil painting and ceramics deal primarily with the language of abstraction. Working at the intersection of those two histories allows a flexibility to address painterly concerns with clay, research into colour theory, visual perception and the still life, while also reflecting on Modernist philosophies of the Bauhaus, the unmaking of craft and material hierarchies. She is deeply concerned with phenomenology and the physicality of form. The internal logic of her artwork is determined by intuitive construction and response to material; Images and objects arise out of multi-layers of decision making to develop forms that are at once recognizable yet unfamiliar. The indexical quality of both painting and ceramic render dynamic impressions of mass and surface that preserve evidence of the hand and mind in motion. Metten’s preoccupation with the mechanics of looking, the psychological play of optical illusions, and our brain’s response to reductionist imagery confronts the viewer with the conditioning of their own perception.
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