ABSTRACT The works of KwaZulu-Natal ceramist, Carol Hayward Fell (born 1953), while in a number of public collections in South Africa and recognised through prestigious awards, have not hitherto been examined in depth. This article addresses this gap through a focus on works the artist made in the 1980s and early 1990s, considering how these might be interpreted in light of gender politics. Hayward Fell is contextualised as being among a first generation of South African artists working in feminist frameworks as well as those who resisted Anglo-Orientalist paradigms in ceramics. Through analysis of a selection of examples, it is argued that her works transgress gendered understandings about ceramics, most especially ideas about “decoration”, and that these critical engagements with her medium and inherited constructions about it are coupled with incisive commentaries about gendered experiences in social life.

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维纳斯与鱼妻：卡罗尔·海沃德·费尔早期陶瓷作品中的性别政治

摘要 夸祖鲁-纳塔尔省陶艺家卡罗尔·海沃德·费尔（Carol Hayward Fell，生于 1953 年）的作品在南非的一些公共收藏中并获得了著名奖项的认可，但迄今为止尚未得到深入研究。本文通过关注艺术家在 1980 年代和 1990 年代早期创作的作品来解决这一差距，并考虑如何根据性别政治来解释这些作品。海沃德·费尔（Hayward Fell）是第一代在女权主义框架下工作的南非艺术家，也是抵制盎格鲁-东方主义陶瓷范式的艺术家之一。通过对一些例子的分析，认为她的作品超越了对陶瓷的性别理解，尤其是关于“装饰”的想法，