Ruth King trained at Camberwell in the mid 1970s and has been hand-building pots for over 40 years. A Fellow of the CPA, she has exhibited widely in the UK and internationally and has work in both public and private collections. The pots she makes are fashioned from soft sheets of clay cut and assembled to wrap and clothe a space, often but not always defined by a single drawn footprint or endpoint.
Ruth thinks of pots as objects without a heavy burden of expectation, allowing them to play a part in anyone’s life. Even after 40 years, she is still astonished by the transformation that comes from putting something into a kiln and finding what emerges after the firing process. Ruth enjoys getting to know her works before, and again after this process.
PRODUCT CODE:RK53Y154
PRODUCT CODE:RK53Y169
PRODUCT CODE:RK53Y171
PRODUCT CODE:RK53Y172
PRODUCT CODE:RK53Y173
PRODUCT CODE:RK53Y182
PRODUCT CODE:RK53Y184
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.