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.
The driving force behind all of Paul Jackson’s
highly decorated work is a desire to express
his Cornish surroundings, with their strong
sense of colour and style. Paul uses white
earthenware to form energetic vessels
which are then decorated with colourful
and painterly abstract decorative motifs,
some influenced by Russian or Islamic art.
Richard Phethean makes ceramics
using coarse textured red and black
earthenware clays referencing
ancient pottery as well as European
slipware traditions. Richard utilises
brush and resist techniques to create
cubist‑inspired abstractions that adorn
both his domestic vessels and altered
and assembled forms.
“The origins of [clay] lie in the enduring rock beneath our feet. The processes of firing that a potter uses to complete their work replicate some of the monumental forces which create and erode the matter of the universe.”
“Sometimes I make simple useful things, on other occasions my work is less straightforward, challenging the user to negotiate with an unexpected pot to do an ordinary job.”
Ant & Di Edmonds’ present work has been developed over the past six years. All the pots are coiled by Ant and subsequently pinched, scraped and beaten into shape. The decoration is applied by hand – a full time occupation for Di – between coiling sessions for Ant. The monochromatic designs and abstract patterns are drawn and adapted from many sources including Pueblo Pottery of New Mexico. USA and 1960s Op Art. Each of this couples’ magnificent vessels are dazzling accomplishments embodying the culmination of skill, passion and time.
David Binns’ carved and glazed ceramic forms evolve through an intimate and intuitive engagement with clay, involving both accident and control. Whilst drawing (indirect) inspiration from colours and shapes found in the natural landscape. David’s practice is shaped by a deep respect of the fundamental principles of Japanese aesthetics.
Paul Wearing presents a body of work that showcases the recent developments in his approach to form and surface. Symmetrical Ellipses have evolved and are contrasted with the dynamic Tilt Ellipse.
As the close of another year approaches, we celebrate our wonderful CPA members with a seasonal showcase of their work. From functional to sculptural and everything in between, our annual group exhibition offers a carefully curated selection of work for all tastes and all budgets.
