Individual slab built matt glazed textured stoneware boxes, wallpieces and vessel forms fired in an electric kiln.
St Mary's Community Centre : St. Mary's Ceramic Fair with Brian Holland
June 10, 2017 to June 10, 2017
Masham Town Hall : Crafted by Hand
July 02, 2017 to July 02, 2017
Art in the Pen (Thirsk) : Art in the Pen 2017 (Thirsk)
July 22, 2017 to July 23, 2017
Potfest in the Pens - Penrith : Potfest in the Pens
August 04, 2017 to August 06, 2017
Art in the Pen (Skipton) : Art in the Pens 2017 - Skipton
August 12, 2017 to August 13, 2017
Art in Clay - Hatfield House : Art in Clay 2017
August 18, 2017 to August 20, 2017
Market Square, Southwell : Ceramics in Southwell
August 27, 2017 to August 27, 2017
Black stoneware clay with white matt glaze and textured handbuilding clay with matt cobalt glaze or cobalt/copper washes over a matt white glaze. .Also decorative porcelain spoons. Fired to 1260 in an electric kiln. I’m currently exploring lower firing temperatures.
For many years I made wheel thrown domestic ceramics and a small amount of handbuilt work. I now only make slab built work.
My black and white work reflects several areas of interest – West African adobe architecture and architectural details, working with black clay, making boxes and experimenting with surface textures.
Several years ago I saw an exhibition by photographer James Morris of West African adobe architecture and was fascinated. This was the original source of inspiration for me. The forms I make are not directly taken from the buildings but are visual ideas which surface when I start the ‘making process’. I incorporate details into my work from windows, grilles, surface textures and the supporting timbers which protrude from buildings.
I have been working with black clay for several years and really like the denseness of colour I can achieve. Surfaces are treated by scraping, sgraffito and pressing or rolling various textured objects/surfaces onto the clay. I then use a matt white glaze to enhance textural detail, linear designs and the blackness of the clay, wiping back some of the glaze to achieve a sense of ‘worn away’ images.
I use a wider selection of found objects and textures to exploit the clay surface for my indigo blue work, which is then glazed with the same matt white glaze as the black clay but with the addition of cobalt/cobalt washes.
My most recent work features thin washes of cobalt and copper over a matt white glaze on top of textured surfaces to evoke a feeling of the sea shore and coast line.