Our “New Members” exhibition is packed with inspired works blurring the lines between art and craft. Showcasing something for each artistic taste; from the likes of Gail Altschuler, timeless simplicity by Jennifer Amon and Verity Howard’s sculptural pieces. The wide array of display also includes complex pieces from Timothy Copsey, red stone clay improvisational music inspired work of Julian King-Salter, domestic objects by Francis Lloyd-Jones balancing between looseness and definition, to a more contemporary storytelling through figurative ceramics by Craig Mitchell, and narrative visual fragments by Carolyn Tripp.
Featuring the work of:
Gail Altschuler, Jennifer Amon, Timothy Copsey, Verity Howard, Josefina Isaza, Julian King-Salter, Francis Lloyd-Jones, Craig Mitchell, Carolyn Tripp.
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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.