Charles was born in New York City in 1939. After graduating from Union University in 1962 with a degree in English Literature, Charles spent the next three years teaching at secondary level. From 1965 to 1971 he worked for a publishing company, dividing his time between the USA and Africa. By 1972 he was juggling a variety of commitments: teaching, travelling, writing and theatre work, mostly in Kenya. Charles did not come to study ceramics until 1983, setting up a studio while working as a college technician and teaching. In 1994 he was gifted the use of space on a farm where he could build his own wood fired kiln, which he has been working with since.
Charles’ work is unconsciously influenced by significant periods of time spent in USA, Africa, and UK. Loose and elemental, his work reflects the rugged landscape of Wales, particularly of the farm environment.
“As things come out of the kiln with fused sand from the floor attached, distorted, occasionally with bits spalled off, I have begun to cultivate the wreckage that occurs in a wood kiln.”
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The driving force behind all of Paul Jackson’s
highly decorated work is a desire to express
his Cornish surroundings, with their strong
sense of colour and style. Paul uses white
earthenware to form energetic vessels
which are then decorated with colourful
and painterly abstract decorative motifs,
some influenced by Russian or Islamic art.
Richard Phethean makes ceramics
using coarse textured red and black
earthenware clays referencing
ancient pottery as well as European
slipware traditions. Richard utilises
brush and resist techniques to create
cubist‑inspired abstractions that adorn
both his domestic vessels and altered
and assembled forms.
“The origins of [clay] lie in the enduring rock beneath our feet. The processes of firing that a potter uses to complete their work replicate some of the monumental forces which create and erode the matter of the universe.”
“Sometimes I make simple useful things, on other occasions my work is less straightforward, challenging the user to negotiate with an unexpected pot to do an ordinary job.”
Ant & Di Edmonds’ present work has been developed over the past six years. All the pots are coiled by Ant and subsequently pinched, scraped and beaten into shape. The decoration is applied by hand – a full time occupation for Di – between coiling sessions for Ant. The monochromatic designs and abstract patterns are drawn and adapted from many sources including Pueblo Pottery of New Mexico. USA and 1960s Op Art. Each of this couples’ magnificent vessels are dazzling accomplishments embodying the culmination of skill, passion and time.
David Binns’ carved and glazed ceramic forms evolve through an intimate and intuitive engagement with clay, involving both accident and control. Whilst drawing (indirect) inspiration from colours and shapes found in the natural landscape. David’s practice is shaped by a deep respect of the fundamental principles of Japanese aesthetics.
Paul Wearing presents a body of work that showcases the recent developments in his approach to form and surface. Symmetrical Ellipses have evolved and are contrasted with the dynamic Tilt Ellipse.
As the close of another year approaches, we celebrate our wonderful CPA members with a seasonal showcase of their work. From functional to sculptural and everything in between, our annual group exhibition offers a carefully curated selection of work for all tastes and all budgets.