Katharina Klug took a grant-funded research trip to Japan in 2022 and the works in this exciting exhibition are the direct product of her time there exploring and discovering new techniques.
“For me this work is a look through a kaleidoscope after a first glimpse of a fascinating country… it is a start on a new direction. I didn’t want to abandon my style but to gain a new viewpoint.” – Katharina Klug
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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.