Kate Metten Dented Triangle Chewan
Celebrate the artistry of form and function with the Dented Triangle Chawan, a 10oz handcrafted tea bowl that brings a sculptural presence to your daily ritual. Created by Vancouver based maker, Kate Metten, this unique piece is shaped by the negative space of the maker’s hands in the soft clay. The result is a beautifully asymmetrical design, marked by a subtle dent that offers an intuitive, comfortable grip.
The word chawan translates to “tea bowl,” and this vessel is traditionally used for preparing and enjoying tea. At Nimmo Bay’s Little River restaurant, we use it in exactly that way—though its versatile form also makes it perfect for your morning coffee, matcha, or even a small, delicious soup. Crafted from recycled clay and locally sourced raw materials, it embodies a zero-waste approach that aligns with our values of environmental responsibility and sustainable craftsmanship.
Finished in a rich black velvet glaze, the chawan is both microwave- and dishwasher-safe. Its presence is quiet yet bold—a meaningful object that brings intention and beauty to your daily moments.
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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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