Ruthanne Tudball and Jeremy Steward each have longstanding careers in ceramics creating work that feels organic and holds an earthy authenticity. Jeremy wood fires and salt glazes his work while Ruthanne is renowned for her soda glaze firing, both resulting in rich, layered surfaces.
Working from the renowned Wobage workshop in rural Herefordshire, Jeremy Steward is inspired by the soft fluidity of the materials themselves — clay on the wheel, slip and raw glaze. His work is often decorated by using wooden roulettes and stamps to impress deeply textured patterns into the freshly thrown forms.
Based in Norfolk, Ruthanne Tudball has welcomed the way that sketching, and life drawing in particular, has trained her eye, helping to develop the sense of form she translates into her ceramic art. Ruthanne’s functional pieces are assembled and manipulated while wet, capturing the soft organic quality of clay.
Don’t miss the chance to collect a piece from this beautiful collection of new works by two highly influential makers.
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Twelve new members of the Craft Potters Association exhibit their inspiring work in this second group show of 2024. Expect to be impressed once more, by a selection of skilfully made sculptural, figurative, organic and functional forms.
Marina Bauguil, Daniel Chau, Moira Goodall, Björk Haraldsdóttir, Paul James, Jaeeun Kim, John MacKenzie, Ania Perkowska, Birgit Pohl, Amanda-Sue Rope, Jessica Thorn, Kate Windibank
Adam Frew works in porcelain, creating thrown functional and large one-off pots. He revels in the spontaneity of throwing, the speed of production, seeking to reflect this energy in his distinctive mark making. These marks are continually evolving, but are always energetic and confident.
Adam works in contrasts: of lines or washes, glazed and unglazed, blues and oranges or reds and more recently, applied ridges.“A sense of energy has always been central to my work. Working with the clay in a way that is fluid and quick, and doesn’t require much reshaping.”Adam Frew works in porcelain, creating thrown functional and large one-off pots.
Charles Bound ‘s work is unconsciously influenced by significant periods of time spent in the USA, Africa, and the UK. Loose and elemental, it reflects the rugged landscape of Wales, particularly of the farm environment where he lives and works today. The indeterminate process of seeing how it goes has always motivated Charles; often with the friendly eye of a visiting granddaughter who would help him decide what a piece was to be as it was developing.
Akiko Hirai makes largely functional ware using the Japanese tradition of allowing the clay itself to show the way in which it wants to be fired. She tries not to control her materials but to let them and the unpredictable environment of the kiln dictate much of the resulting shape and colour of her work.