Sophie MacCarthy and Richard Phethean’s established careers have embraced bold decoration and a joyous approach to colour through the use of slip on their earthenware pieces. In this exhibition Sophie’s classic forms and intricate stencil decoration sit well together with Richard’s meticulous abstract designs on curious constructed shapes.
Their passion for design and colour, alongside the similarities in their making process creates a complimentary combination of works that are a delight to see in this exhibition.
Sophie’s pieces, using a mixture of stencils and brushstrokes on traditional forms, appear to create movement and depth within each decoration. Floating leaves swim in front of your eyes upon her carefully crafted plates while birds rest on branches within wheel thrown mugs.
Richard’s forms stand proudly – each one so full of character that his abstract decoration could be likened to clothes draped across each piece.
Together Sophie MacCarthy and Richard Phethean celebrate a bold and joyous approach to colour through the use of slip on their earthenware pieces.
Please see our ‘visit us’ page for our temporary gallery opening times.
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.”
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.
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.