James and Tilla Waters’ pots emerge from a long tradition of domestic ware but are conceived and evaluated in increasingly aesthetic terms. Carefully considering where hands hold pieces and edges meet mouths, their forms have classic clean lines with beautifully balanced proportions. These subtle qualities – the degree of the curve in a bowl for instance, combined with their aesthetic dedication results in work which is pleasing to live with beyond being simply nice to use.
PRODUCT CODE: JTW322Y919
PRODUCT CODE: JTW322Y927
PRODUCT CODE: JTW322Y924
PRODUCT CODE: JTW322Y918
PRODUCT CODE: JTW322Y916
PRODUCT CODE: JTW322Y921
PRODUCT CODE: JTW322Y914
PRODUCT CODE: JTW322Y894
PRODUCT CODE: JTW322Y895
PRODUCT CODE: JTW322Y893
PRODUCT CODE: JTW322Y515
PRODUCT CODE: JTW322Y516
PRODUCT CODE: JTW322Y514
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