This investigation combines practice-based and documentary research methodologies to interrogate a neglected history - landscape images and patterns used in industrial ceramics. The synthesis, mediated by artistic intervention, stretches the blue and white semiotic. In analysing processes used in the creation of a genre the research widens the vocabulary of the language used to describe printed ceramics. The articulation of findings are visual and textual - their complimentary nature essential in the creation of new understanding. Visual and documentary research were presented (with illustrative text) in Exhibition, and textual form - here in Thesis (with illustrative image). In the historical narrative, the thesis draws remediate and confective threads, plotting the journey of images through philosophical construct, painted landscape, engraved reproduction and book illustration into stylized vitrified patterns. It also tracks and demonstrates geographical and cultural movements within the decorative manifestation, and considers their significance. The thematic and graphic source of the neglected pastoral confect - Sweden's Rorstrand Vlndsater pattern is used as prime exemplar. In re-configuring extant industrial product as contemporary art object the visual and technical shifts undertaken in the creation are dissected. The stretch of mnemonic association is tested through detail, subject matter, context and scale - evaluated through display, exhibition, reflection and critical reception.The thesis concludes that printed ceramic surfaces are part of a wider printed media, that they form part of collective cultural memory and as such are loaded with existent meaning. It asserts that confection and remediation are core to a theory of ceramic surface - that these concepts illuminate critical analysis, dialogue and understanding of historical objects - as well as contemporary artworks. The research adds to the body of knowledge by creating a comprehensive narrative thread documenting development of the genre, and in the identification of particular historical artefacts. It creates new insights and understandings which affect perceptions and critical discourse in the field of Contemporary Ceramics and the Crafts.