Sue Hanna and Antonia Salmon are renowned for their sculptural abstract ceramics, both creating strong forms with dynamic smoke-fired surfaces. These works are displayed in high-profile collections across the UK and internationally.
Antonia often explores the themes of containment and holding in her work, while other pieces examine the role of dynamism and stillness within one form. The pieces in this exhibition have been inspired by the works of Charles Causley, a Cornish Poet who captured the spirit of the landscape.
“Many of the works are hand built, using coiling, pinching and mould-making techniques,” Antonia says. “The forms are carefully honed to their final form, hand burnished and smoke fired. I hope that people will find a depth and mystery beyond words in the sculptures.”
Sue cites her interest in the visceral connection between nature, tribal art and fire. “My recent work is concerned with exploring the figure in the abstract, as well as objects decorated with geometric symbols and rhythmic patterns present in African art.”
Having recently invested in a new, larger kiln, Sue explores works on a larger scale in this exhibition. She also introduces locally sourced clay into her decorative process, creating a variety of slips to help develop her works’ surfaces.
Evoking a sense of timelessness, this collection invites the viewer to enjoy the contrasting surfaces of each piece and the presence found within their simplicity.
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.
