reflection, slow thinking and clear thoughts lead to inspired immediacy
and spontaneous hand actions generally through repetition. Increasingly
my work practice is based on peace and the necessity for tranquillity
hopefully leading to a transmitted feeling detectable in the work.
The importance of the work being sold is still of importance stemming from my days spent at Chesterfield College of Art and Design training and making functional domestic pottery. However, the need to produce at speed a line of work looking the same has given way to making wheel work more slowly. I now consider the vessel as a "one off" rather than a production line.
Increasingly my time is taken up with slab made forms and also modelling wildlife and figurative subjects. I now have the guts to call myself a ceramic artist and chose to make themed work as the inspiration hits me.
Woodbury Studio Gallery : Solo-Solar - ceramics and sculpture
May 31, 2014 to June 22, 2014
white earthenware, cut into slab shapes and combed, incised and stamped
to form minimalist land and seascape textured plaques. When combing the
speed and immediacy is of paramount importance, any hesitation is very
obvious in the finished plaques. Which means that many of the pieces
get rejected at the clay stage. The metamorphosis of the firing process
for me has very close associations and affinities with the formation of
the earth itself. With this in mind I have been introducing metamorphic
rock into my work in the form of slate as a backdrop for the white
Rock pool sculptures - being very keen on rock pooling, trying to find a suitable way of expressing myself through the clay in a simple way is quite a challenge. Star fish, flat fish of various kinds, anemones and seaweed form the first layer of a two layer dish form which has been laid over a hump mould. The symmetry between the fish and pool inhabitants usually takes on a formal pattern and the feet of the rock pool bowls are usually finished in a shell fish of some kind, e.g. limpets.
Work generally available from:
Branscombe Gallery - Branscombe
One Gallery - Shepton Mallett
Somerset Guild of Craftsmen - Court House Gallery, Somerton
Kingfisher Gallery - Sidford
Meeting House - Ilminster
Pierrepoint Gallery - Bridport
Blue, Teal and Silver - Wiveliscombe
Textured white stoneware clay, fired in electric kilns, biscuit fired to 1000c and 1230c gloss firing. Under-glaze stains and oxides are mixed with a variety of textured type feldspatic glazes to produce a painting medium that is applied to the biscuit ware in various methods. I also use enamel and lustre's and for some pieces smoke firing.
1951 - Born in Bristol
1972-1974 - Filton College of Arts
1977-1980 - Chesterfield College, 3 year Diploma Course in studio ceramics
1979 - Founder member of Midlands Potters Association.
1980-1983 - Self employed ceramics studio in Derbyshire
1980 - Sudbury Ceramics Summer
1981 - Set up the first stoneware pottery in South America, Bogotá, Colombia
1982-1983 - Sessional lecturer at Chesterfield College
1983-1997 - Self Employed in ceramics, moved to Somerset, set up pottery workshop at Cricket St Thomas
1985 - Relocated ceramics workshop to present address, various solo and group exhibitions, including Dillington House and Taunton Library.
1990 - Consultant for Honiton Pottery, design and mould making
1991 - Greenfield Pottery, Dawlish, Devon Pottery at home workshop
2002-2004 - Set up West Street Gallery and Pottery, Crewkerne, Somerset
2003 - Board committee member of Somerset Guild of Master craftsmen Board committee member of Westcountry Potters Association
2004-Present - Established new workshop in Axminster and developed White Space Gallery in collaboration with 3 artists
Sudbury Hall - Derbys
Rufford craft centre - Nottinghamshire
South Wales Potters - Swansea
Butlin Gallery - Dillington - Somerset
Taunton Library - Somerset
Meeting House - Ilminster
Home Gallery - Martock
Blue,Teal and Silver - Wiveliscombe
Dolphin Gallery - Colyton