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!
Although I didn’t know Barry particularly well – we first met as a result of Studiopottery.co.uk about 10 years ago, I found him a delightful and thought provoking individual with a great sense of fun and some remarkable stories from his past. I am greatly saddened by his death and my thoughts are with his family and friends.
I have taken the following words from his website:
“Barry Guppy was born in St Helier, Jersey, Channel Islands. He studied at Camberwell School of Art, working with Dame Lucie Rie and particularly Hans Coper who encouraged him to explore radical new ceramic techniques.
His earliest work was highly dynamic, wire cutting undulating surfaces and then hurling the individual pieces from a height onto wet sand moulds forming large wall reliefs. The geometric acoustic tiles produced in the 1960s are an early demonstration of his fascination with pattern, the ambiguity between form and decoration and how movement arises from changes in perspective or light.
In the early 1970′s Guppy was making a stand against the nostalgic rustic view of the potter. At a time when the Royal College of Art was beginning to talk about ceramists interacting with industry, Guppy was already working with architects and large modernist retailers.
As the pottery grew into a lively studio and a meeting point for artists from various disciplines, Guppy moved away from large scale production and began inventing a series of his own glaze and slip techniques. The inspiration for these experiments lay in his early experiences working with antiques when he had admired the work of oriental artists and their understanding of a line and its relationship with empty space From this he developed a technique of on-glaze spinning first on tiles then extended to wheel-thrown forms.
Later and quite radically he started to spin the artificially liquid but structural clay itself; calling this new process slip drawing & spinning or ‘glipping’. He spun thin threads of this special fibreslip into moulds making bowls, dishes and organic shapes whose structure became their decoration – frozen in movement. Highly recognisable, Guppy’s individual style is apparent in all his work and is ever changing. Like an alchemist he plays with form, texture and colour, the movement of his creative spirit has provided many surprises and much enjoyment for those lucky enough to have pieces of his work.”
Internationally known his work is in some major public and private collections around the world.
He will be much missed by all who knew him.
Below Andy McInnes has let me use his photos from the 2010 Hatfield Art in Clay show, when Barry was the recipient of the Studiopottery Award for excellence -
Handmade in Britain supports and promotes designer-makers who create their work in England, Wales, Scotland and Northern Ireland. We provide a platform of support and promotion for design and craft talent through fairs, events and popups alongside workshops and mentoring. We Increase accessibility, create market opportunities and maintain high standards in the craft sector whilst providing a comprehensive support programme for new graduates and up-coming design talent.
For more information and to apply, please download their application pack.:
In November 2012, we returned to Chelsea Old Town Hall for our 6th year for Handmade in Britain 12: The Contemporary Crafts & Design Fair, which took place on 15th-18th November.
Supported by The Resident and Homes & Gardens, the fair was our biggest yet, with almost 100 designer makers beginning the Christmas Season in a stunning showcase of British craft & Design in the glorious surroundings of Chelsea Old Town Hall.
Feedback from our exhibitors was very positive and highly encouraging, particularly with regard to organisation, publicity and venue, and exhibitors and visitors alike were impressed with the high standard of work at the fair.
Overall, the total sales made in 2012 were an increase from sales made in 2011, which is excellent news and a positive indicator of the public interest in craft and design.
Over 85% of our exhibitors have possible or confirmed commission opportunities through Handmade in Britain 12, including interest from collectors and galleries, and over 65% have possible or confirmed trade opportunities, including opportunities with large, established retail brands.
Our visitor numbers for 2012 were a 32% increase on visitor numbers for 2011, and the feedback from visitors was overwhelmingly positive, particularly with regard to the standard of work and the variety of exhibitors.
The Illuminating through Ceramics project investigates a new concept of sustainable ceramic façade. So far, the use of ceramics in contemporary architecture offers an interesting combination of thermo-acoustical control and aesthetical properties, but there is very little explored about its potentials to include the benefits of sunlight.
By means of light-control techniques, geometrical analysis and contemporary digital design tools, students of the MArch Programme have explored ceramic systems to capture and transport or deflect daylight throughout the building skin.
The show features 13 design projects, 5 of them built at full scale. The production of the ceramic components has been developed in collaboration with ceramic artists Jenny Beavan and Wendy Lawrence.
See website: www.liv.ac.uk/lsa/illuminatingthroughceramics/