Paul Jackson has developed various ranges of highly decorated ware. More recently, Paul has been influenced by Russian and Islamic art forms and this process can be seen in the painterly abstraction on some of his decorative motifs. The driving force behind all Paul’s work is energy which expresses his Cornish surroundings with their strong sense of colour and style. Paul uses white earthenware to construct his energetic and sinuous forms. The clay allows for the dynamic shaping of the pieces which form the vessels. They go on to be given diverse and colourful decoration.
Richard Phethean is a long-established professional potter whose work has been exhibited and collected widely across the UK and Europe. He is a Fellow of, and previous Chair of the Craft Potters Association, a member of the Cornwall Crafts Association and of the Penwith Society of Artists. Making thrown, altered and assembled vessels in coarse textured red and black earthenware clays he decorates his pieces using brushed slips and resist techniques. His current work combines references to ancient pottery, European slipware traditions and early twentieth century abstract painting.
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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