Ohr invented his own brand of beauty, one so innately modern that it’s easy to understand why he wasn’t more appreciated in his own time. His liberations of color and form move beyond art nouveau and the arts and crafts movement - with which his work has obvious links - and points toward the present. In particular, his exquisite, constantly shifting balances of randomness and control convey a kind of three-dimensional automatism that presages ideas basic to surrealism and abstract expressionism. And in a way that seems both modern and close to the experience of painting, Ohr invites the viewer to rehearse the pleasure and release he felt in making his pots.
Roberta Smith, New York Times