Welcome - This is a Social Enterprise Business It aims to help potters and ceramic artists to become better known, to sell their work, to fill their courses and to provide a window into this fantastic world of 3D art!
Here is your chance to support budding young artists and Black Swan Arts in five easy steps …
1. Learn all about the Black Swan Arts Young Open Competition by visiting the website www.blackswan.org.uk/youngopen2013.
2. Tell all the young people you know between the ages of 8 and 19 about this unique competition.
3. Encourage them to enter their best art or craft work * – which can be either newly created or something they have already made.
4. Make sure they have the website address so they can submit their work online.
5. Forward this email to anyone you know who might be interested.
Amanda Sheridan – Curator
Black Swan Arts Young Open Competition 2013
*Painting, sculpture, jewellery, pottery, drawing, weaving, in fact any form of creative art and on any theme. This isn’t a photography competition, but if used as part of an art work then it is acceptable.
Black Swan Arts, 2 Bridge Street, Frome, Somerset BA11 1BB
Tel. 01373 473980 Email: firstname.lastname@example.org
Submissions close on 7th February 2013
(note – the deadline has been extended!)
It costs between £3 – £5 to enter,
depending on age.
Amazing prizes of half-day workshops
with professional artists.
Work will be curated and shown in the
main Black Swan Gallery from
23rd February to 9th March 2013
The exhibition is curated by Dr Mark Curteis and his team at the museum. Potters who are showing in the exhibition so far include: Shaun Hall (Large Nuclear Jug), Richard Baxter (large footed bowl), Lola Swain (big beautiful coiled and burnished pot), Suzanne Rampton (possibly a functional work), Madelaine Murphy (a trio of totemic birdhouses in Raku -dedicated to sweets), and Alan Foxley (sculptural garden piece).
I have a picture from Shaun of his jug and hope to be able to add more images later. The exhibition is listed under ‘events‘ as well
The Museum boasts a beautiful display of ceramics, fine Georgian glass, English pottery and contemporary pots from local artists.
Ceramics on display include 17th-18th century tin glaze pottery (“English delft”) and the unusual Victorian “Essex Art Pottery” made by Edward Bingham and his family at Castle Hedingham in North Essex. A contemporary decorative and narrative pot by the Chelmsford-born Turner Prize winner Grayson Perry is “The Chelmsford Sissies”. He imagined a Civil War incident and created a modern cross-dressing illustration on the pot.
This contrasts with the modern austerity of work by Joanna Constantinidis (1927-2000), a potter of international reputation who lived at Little Baddow and taught in Chelmsford from 1951 to 1989. Items on display include a large group of pieces she kept, acquired from her estate after her death.
Clare Crouchman draws upon the intricate shapes and textures in the landscape for inspiration. She is intrigued by rhythmical and repetitive patterns that repeat themselves naturally on both a large and small scale.
The artist’s choice of materials and working methods are crucial to the desired outcomes. Ceramic materials go through a series of transformational processes, paralleling those of the natural world, which bring a strong physical dimension to her work. An influence of cities, mapping, mazes and labyrinths is evident.
Clare says: Contemporary physics has redefined how we understand the world. The ‘implicate order’ as proposed by the physicist David Bohm states that all things have an underlying ‘interconnectedness’. This theory resonates with the way that I instinctively see the world around me to exist. I have been intrigued by rhythmical and repetitive patterns that repeat themselves naturally on both a large and small scale. This fascination connects with Bohm’s view and is in line with other quantum theories that each small piece may contain a microcosm of the whole. This further suggests that nature is an orderly process in the ‘chaos’ of the world.
Working intuitively, I sense the underlying connections and systems that reflect notions in quantum physics and the idea of unity. The resulting patterns or rhythms of lines are interrelating but there is not necessarily a sequence of events, more an underlying network of integration.
New Ashgate Gallery Trust, Waggon Yard, Farnham GU9 7PS, +44 (0)1252 713208 www.newashgate.org.uk