Deirdre McLoughlin is a ceramic sculptor with a cool, precise sense of elegant form. Her current show, at the Peppercanister Gallery, features two formal types: torso-like bands and vessel-like cups with appendages. The latter proliferate in big, relaxed families of various sizes and colours. The basic cup shape attenuates to a flattened spout or handle that in most cases plays a role in balance. You could read human anatomical and social connotations into these works, which are collectively titled I Am Too.
The implication is that they are all typical and all slightly different, cheerfully diverse but unmistakeably related. If the show consisted just of them it would be noteworthy, but it also features a much smaller number of another series of larger works, the Empty Forms. And at least two of these are exceptionally good sculptures by any standard.
They are eloquently economical ceramic bands that almost magically conjure up a sense of human presence and absence, loss and memory, through their use of subtle, ambiguous forms and positive and negative space. In a way they are hardly there at all, but they are amazingly strong works.