There is no living ceramic artist who has a sweeter touch than Belgium’s Anne Marie Laureys –and probably only a single dead one, George Ohr. Like the famed “Mad Potter of Biloxi,” Laureys achieves a daredevil thinness in her work, working magic with its vertiginous contours. Sprayed pigment brings out the choreographed voluptuousness of the forms; orifice-like apertures yawn open, bringing to mind both the beauty of undersea formations and the vulnerable parts of the human body.