Adam uses a single pure jar form as a canvas to map his observations from an ongoing study of his surroundings. He incorporates stone and locally dug clay into his work to create a narrative, one that conveys a unique sense of place. The unpredictable nature of each jar comes from the inclusions and their metamorphosis during firing. This individuality and tension between materials speaks of the human condition and how the landscape shapes us as individuals.
Adam was inspired by archaeological theories that the Menhirs of prehistory are a veneration of the landscapes that surrounds them. With his site-specific work he too is venerating the landscape. By placing a Jar at a particular location within the landscape he hopes that it will make us look beyond the object to its surroundings.
Adam’s work is also about change, about natural cycles and the transience of human endeavour. Paths are a motif he uses to represent his actual and metaphoric journeys through a place. To understand a landscape is to move through it, to give it context. Paths are like common routes of experience, guiding us through the landscape. They are connections through time, to others and to the land.
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Sue’s work draws on the quiet resilience of trees and bones—forms shaped by time, marked by fragility and carrying memories of growth and decay. Through slow, receptive hand-building, each piece develops as if guided by an internal rhythm. Textured surfaces hold lines like weathered stories, while a soft matte glaze evokes a sense of calmness.
‘My hurt, my joy, my scars, my healing, all shape the work I create in clay.’ – Sue Mundy
Jenny Southam hand builds figurative sculptures in terracotta clay. She delights in exploring colourful gestural mark-making over their surfaces. This painterly decoration aims to echo the emotional resonance of each piece.
“When I enter the studio I am searching for that serene state of absolute absorption that making and drawing can gift us, which we all wish will, in some manner, enrich our audience.” – Jenny Southam
In a career spanning nearly 50 years, ceramicist, Sophie MacCarthy has developed a unique and distinctive personal style. Through her subtle and bold use of coloured slips, painterly brushwork, stencils and wax-resist, she evokes the colours, forms and movements of the passing seasons. Often focusing on the ground, she finds beauty in the accidental compositions created by wind-blown leaves, stalks and detritus sometimes gathered around a storm drain or scattered over concrete and tarmac, juxtaposing the vibrant colours of the natural world with the gritty textures of the urban environment.
‘She has a poetic insight into the natural world’ David Whiting
Throughout his long career Peter has always sought pathways to the development of new ideas. Often this is a slow process, but sometimes a particular event speeds things along.
Partaking of two residencies in China recently, where Peter worked in porcelain at high temperatures, led him to develop a new body of work, made alongside his existing practice to which Peter is still deeply committed.
This new exhibition represents the outcome of Peter’s working practice.
'This exhibition explores objects that express a quiet equilibrium: fragile, shifting forms that exist in a state of delicate imbalance. Their stillness is easily disturbed, as if the act of holding too tightly might cause something essential to disappear. The works reflect an interest in forms that resist perfection, remaining slightly unresolved, unsettled, and quietly alive.' Akiko Hirai