Bircham GalleryAddress: 14 Market Place, Holt, Norfolk, UK, NR25 6BW. View Map
Email: Web-site: www.birchamgallery.co.uk
Telephone: +44 (0)1263 713312
Contact: Chris Harrison
Open: 9.00am to 5.00pm Mondays to Saturdays, and 10.00am to 4.00pm on Bank Holidays. We are closed on Sundays.
Last updated: 2012-02-06
Small Conical Bowl by Rachel Wood, Stoneware
Stoneware Bowl by Robin Welch
Boat People by John Maltby, Stoneware
Potters at this Gallery, Kyra Cane, Mark Dally, Antje Ernestus, Virginia Graham, Lisa Hammond, Rebecca Harvey, Nicholas Homoky, Joanna Howells, Kerry Jamieson, Mo Jupp, Walter Keeler, Chris Keenan, Jacqueline Leighton Boyce, Sonia Lewis, John Maltby, Hanne Mannheimer, Abdo Nagi, Susan Nemeth, Alice Palser, Stephen Parry, John Pollex, Phil Rogers, Rupert Spira, Ruthanne Tudball, Carlos Versluys, Mak Yee Fun
About the Gallery
Acclaimed art gallery, established since 1988. The gallery stocks the work of over 200 artists and craftspeople, displaying a wide range of unique and beautiful art from East Anglia and beyond.
Our innovative exhibition programme includes the work of established potters, contemporary artists, Modern British masters and emerging new talent. The gallery operates the Arts Council Own Art scheme for interest-free credit.
Sue creates fine cylindrical porcelain vessels, inspired initially by industrial forms. These are refined during throwing and intuitive decorative marks are applied using wood ash slips, colouring oxides and inlayed clay. The forms are inspired by industrial landscapes of the North East and the marks have evolved from line drawings of the landscape.
2006 - ‘Art in Clay' Hatfield House, Hertfordshire
2005 - Kooywood Gallery, Cardiff ‘White for Weddings'; Contemporary Applied Arts, London; Desmoulin Gallery, Newark
2004 - Michael West Gallery, Quay Arts Centre, Isle of Wight ‘New Porcelain'; The Rope Store, Quay Arts Centre, Isle of Wight; ‘work in Progress'; Cleveland Craft Centre, Middlesborough
2003 - Contemporary Ceramics, London; ‘Feast' Touring Show, Southern Arts Region; Rope Store Gallery, Stroud
2002 - Heifer Gallery, London; ‘Coupes et Bols' Carlin Gallery, Paris; Art 2002 with the Adrian Sassoon Gallery, London
2001 - Michael West Gallery, Quay Arts Centre, Isle of Wight; ‘New Porcelain' The Rope Store, Quay Arts Centre, Isle of Wight
2000 - Beatrice Royal Contemporary Art Gallery, Hampshire; Northern Gallery for Contemporary Art, Sunderland; The Scottish Gallery, Edinburgh
Jane's vessels are reduction fired to 1260 degrees centigrade in a gas kiln. The rich textural surfaces are created by the addition of coarse grog (grit) and sand to the stoneware clay body- the impurities produce the irregular spotting, and by dry matt glazes composed of china clay, barium carbonate, magnesium carbonate, wood ash and feldspar.
Jane's influences are drawn from Islamic pottery, the work of Anselm Kiefer, Claudi Casanova and Tapies - her inspiration, from the saltmarshes and beaches of Norfolk coastlines, ancient British archaeology and geology.
1996 On the Corner, Sunderland
1993 Finalist Arthur Andersen Art Award, London
EAST international open, Nowich
Open Door, London
Northern Seen, Sunderland
2008 Beaux Arts, Bath
1996 Hartlepool Art Gallery
1996 Wall drawing installation for A. A. H. conference at University of Northumbria
1996 Visual Arts UK, Newcastle upon Tyne
1996 Cartwright Hall, Bradford
1995 Middlesborough Art Gallery
As a painter, moving back to living in the countryside in Norfolk from city life in Newcastle was one step too far. I had worked on concerns much closer to my own life when I moved to Newcastle - as woman and a painter, what should my subject be but how to paint women ... so the landscape disappeared from my work, as it did in real life, and I placed the image of woman, not as a passive object, but as a reactive agent, performing various versions of femininity, centre stage in my paintings. Having done this, my work started to become more abstract, but less self-sustaining, and life interfered in various ways, culminating in the move back to Norfolk to help care for my ailing parents, now that my daughter had left school and was at University.
Painting stopped, and the various attempts I made to bring it back to life were at best half-hearted. However the landscape in Norfolk, especially the coast, was engaging my interest. I walked on the salt-marshes every morning, a liminal place, on the threshold between land and sea, where time is only governed by the twice daily rhythm of the tides. Where the mud alternately dries out into patterns of cracks and then melts down into oozing creeks. Where the sea brings sand and shingle up against the land to form low banks and sand-spits and dunes, and the exiting tide leaves marks of water draining out of the marsh, trickles and rivulets in the mud, a shore untouched by human foot, with all the patterns of worm and weed and bird left imprinted into it.
I wanted texture, movement, weather, geology, time, landscape, a sense of history - but all in some abstract form. Then I had the opportunity to go back to ceramics and found myself seduced firstly by the material itself, and the process, and then by the fact that I was making work which resonated with my feelings about the land, the coast, and the time-line of humanity's involvement in the landscape.
I am making work in which the material and the process and its history are the matter with which I am dealing. For me, the vessel, a space-containing hollow form, offers the richest language for working in clay. Its conceptual simplicity allows readings which allude to our most distant cultural pasts, and to the state of being human. In order to reveal the intrinsic possibilities of this profoundly significant, yet ordinary object, I make pots which not only have no utilitarian purpose, but entirely lack the functional quality of containment, together with that perfection which pleases the hand and eye - clay cracks open, glazes crawl, glaze surfaces present a gritty resistance, are reticulated like tree bark, or flake off altogether. The material speaks of its own qualities, its resistance, its strength, of the geology of the land it comes from, and of the stone it is made into. See also Jane Wheeler on this site