"Deconstructed Tea Bowls"
The work is concerned with the creation of a vocabulary, of form and surface, through contrast. The pieces reference bowls, the archetypal form of ceramics. They are about containment, both in the volume of trapped air in the double wall and the shallow depression that could hold. The architecture of the bowl is confronted to generate a grammar of shape. The inside is related and contrasted to the outside profile. Free marking on the interior, gouged with rough tools; a machined finish on the outer skin, all reflecting the range of texture made possible with the rotating potter's wheel. Between these two surfaces lies the rim, which is also seriously considered, as the significant interface between the outer and inner realities.
This treatment focuses on the softness, the pliability and the way in which clay can take up an imprint and be manipulated when plastic. In this way it recapitulates its own geological history - from mud to rock. The work takes as its influences the vessels of the Japanese Tea Ceremony - in particular the Tea Bowl. This is further informed by my own take on the references of the Japanese masters - the impressions and markings of nature: from the erosion of a sea-side rock-pool, revisiting the concentric markings left by the abrasions of the sea, to the systematic dragging of a plough across the countryside. The relationship of the ceramics to the human body is very significant, both in terms of the scale of the work and in the idea of skin and the intimate marks found in the crumpling of flesh.
The work is made by either using a fine porcelain clay, or a porcelain clay mixed with molochite, because it is so responsive as a register of these traces. It is then either vitrified or Raku fired, the latter pots removed red-hot from the kiln and either buried or fumed in sawdust to allow varying degrees of penetration and marking by carbon, giving a product that is soft and warm to the touch, in contrast to the bony hardness of the high fired pieces.
Jewish Museum, The : Shaping Ceramics: From Lucie Rie to Edmund de Waal
November 10, 2016 to February 26, 2017
Work generally available from:
Cecilia Colman Gallery, London
Rufford Ceramic Centre
Contemporary Ceramics, London
Candover Gallery, Alresford
New Craftsman Gallery, St. Ives
David Jones was born in 1953. He graduated in Philosophy and Literature from the University of Warwick in 1974. For the past fifteen years he has taught as a Senior Lecturer in the Ceramics Department at the University of Wolverhampton. He is a Fellow of the Crafts Potter Association of England.
2006 - July “International Symposium of Ceramics, Exhibition. Invited delegate. Kunstlerhaus 188, Halle, Germany
2006 - “Durch das Feuer Gehen”. Keramikmuseum, Westerwald, Germany, Installed exhibition. +Catalogue ISBN: 3-932673-06-9
2005 - “Naked Clay”. Rufford Ceramic Centre. Group Exhibition
International Raku Symposium and Exhibition. Origins, Impact and Contemporary Expression, Eagleheart art centre, Grand Junction, Colorado, USA. Catalogue. Tour to: RC Gallery, Portland Oregan, USA. [For NCECA]. Gail Severn Gallery, Ketchum, Idaho, USA. AMOCA, Pomona, California, USA.
2004 - “Clay Modern”. Gulgong Australia. Mixed Exhibition and Invited Keynote Conference Speaker
Taiwan ceramics biennale, Yingge, Taiwan selected for exhibition, competition. Tour to Kaoshuing Museum of Fine Arts, Taiwan
2004 - 1st. Ceramic Biennale, Yingge, Taiwan.
2003 - "Low Fire and Nilblau". Westerwald Museum
2002 - "Fixing Light - Fixing Fire", a Collaborative exhibition at The Art Gallery and Museum, The Pump Rooms, Leamington Spa
2002 - Crawford Arts Centre, St. Andrews, Scotland - Solo Exhibition
2001 - International Raku Symposium, invited exhibitor/speaker, Biseul Arts Centre, Korea
2001 - Nyon Triennial Porcelain Competition, Nyon, Switzerland
2001 - 2nd. Cheongju International Craft Biennale, Korea (Honourable Mention)
2000 - "Raku, Investigations into Fire", Co-Curator of exhibition, Rufford Craft Centre and tour to Scottish Gallery, Edinburgh
2000 - Cecilia Colman Gallery, Solo exhibition, London
1998 - Ikebana Competition, Takeshemaya, Osaka, Japan
1997 - British/Israeli ArtsFoundation, invited exhibitor/speaker, Jerusalem, Tel Hai, Haifa, Israel
1997 - Northern Gallery for Contemporary Art, Sunderland, Solo Exhibition
1994 - The International and Japanese Ceramic Tradition, The National Gallery, Kuala Lumpur, Malaysia
1994 - Shire Hall Art Gallery, Stafford Solo Exhibition
1993 - INAX Design Prize for European Ceramics
1993 - 3 month residency, exhibitor/speaker, Tokyo and Tokoname, Japan
1993 - Scottish Gallery, Edinburgh, Solo Exhibition
1991 - Galerie L, Hamburg, Germany, Solo Exhibition
1991 - Beaux Arts, Bath, Solo Exhibition
1999 - "Raku, Investigations into Fire", Publication of 50,000 words and 200 colour pictures.
[“Firing: Philosophies within contemporary ceramic practice” book of 50,000 words commissioned by Crowood press. publication date: Autumn2007]
2005 - “Dear Mr. Leach”. Review of the book of the same title by Sebastian Blackie. Ceramics Art and Perception Technical.
2004 - Clay Modern Gulgong 2004”. Ceramics: Art and Perception58. pp97-103
2004 - "Clay Modern Gulgong". Ceramics Art and Perception. 58. pp97-103
1999 - "Connections", Exhibition, Co-curator and Author of Catalogue Essay, Rufford Craft Centre.
1999 - "Emma Rodgers", Catalogue Essay for Exhibition, Rufford Craft Centre.
1998 - Essay on Raku, the Ceramics Website at Rufford Craft Centre.
1997 - Exhibition review of Sue Halls at the Oxford Gallery. Ceramic Review165. p44
1996 - "Ticket to Tokyo", Ceramics Monthly, Apr. 96, pp.24-28
1996 - "The Ceramics of Bruce Anderson," Ceramic Review, May 96, pp.26-28.
1995 - "Visiting the Kiln of Kanjiro Kawai with Yasuo Hayashi", Ceramics Art and Perception, 20, pp.50-52.
1993 - "Tea and its Vessels", Ceramic Review, 140, pp.36-39.
1992 - "A Finnish Diet", Ceramic Review, 133, pp.11-13.
2006 - Fired up with Raku. Poulton, I. (Crowood Press)
2005 - Naked Clay, Perryman J. (A&C Black) Raku. Andrews T. (A&C Black) pp 72, 97-9, 220
2004 - “Capturing Clay.” Bates C. Ceramic Review Jan2004 issue 205. pp44-47
“Fixing light Fixing Fire”. Worth. C. Keramik Magazin. Feb/Mar2004
The Potter’ s Dictionary of Materials and Techniques, Hamer, F. and J. (A&C Black).
2004 - "Capturing Clay", Bates C. Ceramic Review Jan 2004 issue 205. pp44-47
2004 - "Fixing light Fixing Fire", Worth, C. Keramik Magazin. Feb/Mar 2004
2003 - "Fixing Light Fixing Fire", S. Blake. Ceramic art andperception Technical
2002 - Raku by John Matthiesson, (A&C Black.). pp80-81,115
1999 - "The Potter's Dictionary of Shape and Form", N. French
1999 - "Under Fire", Lees, N., Ceramic Review, July 99, pp. 18-21
1997 - Pottery in the Making, Freestone, I., Gaimster D., (British Museum Press.)
1997 - The Potter' s Dictionary of Materials and Techniques, Hamer, F. and J. (A&C Black).
1994 - Raku, Andrews, T., (A&C Black), pp.130-134.
1994 - Contemporary Porcelain, Lane, P., (A&C Black). pp.98,99,212.
Biseul Arts Centre, Korea
Boymans Van Beunigen, Rotterdam, Netherlands.
City Museum, Hanley, Stoke on Trent.
Inax, Tokyo, Japan.
Iris, Porvoo, Finland.
Keramion, Frechen, Germany.
Landesmuseum, Stuttgart, Germany.
Liverpool Museum, England.
National Museum, Auckland, New Zealand.
National Gallery. Kuala Lumpur, Malaysia
Pump Rooms Art Gallery and Museum, Leamington Spa
Yingge Ceramics Museum, Taipei County, Taiwan
Westerwald Ceramic Museum. Hoehrgrenzhausen. Germany