In this bold group show, we bring you new work by two accomplished and risk-taking makers working at opposite ends of the UK.
Sarah Jenkins works from her house and studio surrounded by farmland in North Essex. Patricia Shone has been living and working on the Isle of Skye for the past 25 years. Though surrounded by starkly different landscapes, these artists both use clay to express their responses to the land.
Each artist favours handbuilding as a making process, embracing textured and carved surfaces that possess a raw, tactile quality. Patricia’s works achieve soft earthenware blacks and greys through raku, wood and charcoal saggar firing, while Sarah embraces satin like surfaces, some bearing graphic line work and others revealing abstract patterns of colour. Both bodies of work are organic and elemental in nature, sitting in harmonious dialogue with one another.
Join us in admiring this elemental collection full of detail and nuance.
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.
