"storage" of work underwater is a crucial part of the making process:
the water drives the copper into the white clay body to give the greeny
blue "blush" characteristic of Hayes' sculptures, and it admits a
natural, random element into their production. The forms are monolithic
and distinct. They echo the shapes of artefacts and objects from other
cultures, other times, but remain suggestive rather than descriptive.
They are quiet, self-contained and distant. A sense of distance is
something Hayes deliberately seeks. Working in a small space with an
all-involving, hands-on making process denies him the chance to view
the work objectively. Only when pieces are retrieved from the river bed
or sea after a couple of months can they be seen with fresh eyes, as if
they were found objects, independent and interesting.
Every so often Hayes takes his boat up the river, stopping at various markers to haul aboard these long unseen pieces. Once back at the wooden jetty the sleek green-skinned catch is washed and explored. The surfaces are blackened and cracked, scars of the raku process that are encouraged and exploited, and the creases and indents of the surface texture glint darkly with metal oxides. Hayes continues the erosion process, sanding and rubbing back so that the texture and cracks no longer interrupt the surface but become an organic, integral part of its patina. The work is then polished and waxed which reinstates the river-wet tone and colour.
The newest work seems literally to capture within it the spirit and light of water. A new process has been employed that combines blue translucent resin with raku ceramic, creating a striking contrast of dark and light and introducing a new dynamic into the still, totemic forms.
(Extract from "Peter Hayes - The Next Wave", by Emma Maiden, 16.09.97.)
ceramics lead an unusually adventurous life before they reach the
gallery. Not only are they subjected to the hazards of raku firing,
involving huge shocks in temperature and thick, blackening smoke, but
they are submerged in a flowing river for months at a time. Hayes'
studio is an old Toll house on a bridge over the Avon. Below is a
wooden deck that juts out from the bank, and if you stand there and
peer into the river, you will see several long pale shapes staring back
at you - other pieces are dispatched to Cornwall to be ravished by the
tide for a while.
Work generally available from:
Round House Gallery, Derbyshire
Cecelia Colman Gallery, London
Stour Gallery, Warwickshire
Lund Gallery, Easingwold, York
travelling and working in Africa, India, Japan and Korea for almost 10
years, Peter Hayes arrived back in England in 1982 and converted a toll
house into a studio on the banks of the River Avon in Bath. He has
developed his thoughts and ideas using many of the techniques and
methods learnt on his travels.
" My inspiration comes from walking along the shore-line, kicking pebbles, picking up pieces of driftwood, rusty iron, examining seawashed bone, bits of broken hull studded with copper nails and visiting Neolithic standing stones silhouetted against the skyline."
By building up textured clays combined with burnishing and polishing the surface, Peter achieves opposites of rough and smooth with finishes from weathered clay to sun baked leather. The use of a variety of clays allows him scope in which to work, giving each piece its individual status.
Peter's latest work involves melting copper onto laminated clay surfaces and tossing the molten pieces into sawdust. The viewers experience of his work is enhanced by the tactile qualities of the surface, with its smoothed and polished finish.
1946 Born, Birmingham, UK
1960-67 Mosely School of Art & Craft, Birmingham, Birmingham College of Art
1972-78 Economical Development for Equatorial and Southern Africa ( EDESA) - Craft Advisor
1979-82 Commonwealth Secretariat, Lesotho, Southern Africa - Production Development Advisor
1984 Commonwealth Fund for Technical Co-operation, Nepal, India, Japan, South Korea - Advisor for Development of Ceramics
1985-87 South West Arts - Craft Advisor
1994 St.Ives Revisited - Peter Davis
1996 "Peter Hayes" - American Ceramics 12/2 (Review - Graham Gallery)
1997 "The Next Wave" - Emma Maiden ( see extract above)
1997 "Paintings, Sculpture and Vessels", Peter Hayes and John Emmanuel - Anatol Orient
1998 Ceramic Form - Peter Lane
1999 Raku, Investigations into Fire - David Jones
2000 Ceramics for Gardens and Landscapes - Karin Hessenberg
William Zimmer Gallery, Mendocino, California
Graham Gallery, New York
Gallery Artierre, Holland
Helgi Joensen Gallery, Norway
Galerie Le Pignon, Holland
Harmony Hall, Jamaica
Schneider-Bluhm-Loeb Gallery, Chicago
Running Ridge Gallery, Sante Fe, New Mexico
Galleria Arte, Osaka, Japan
Anthony Hepworth Fine Art, Bath
Scottish Gallery, Edinburgh
European Ceramics, Knaresborough
Candover Gallery, Alresford
New Millennium Gallery, St.Ives
Aspidal Gallery, Rufford Craft Centre, Nottingham
Galleria La Perla, Switzerland
The Carlin Gallery, Paris
Anthony Hepworth Fine Art, Cork Street, London
Craft Potters Association, London
Peter exhibits extensively in America, Japan, Europe and throughout Britain. His latest pieces can be seen in his studio in Bath.
Sculptural Objects & Functional Art (SOFA)
Represented by William Zimmer Gallery
1998-99 New York
Represented by Anthony Hepworth Fine Art
1991-00 ICAF Olympia, London
1992-00 Art, Islington, London
1993 Four Standing Stones - Lansdowne House, Berkeley Square, Stanhope Properties
1993 Pylons - Broadgate, London, Skidmore, Owings & Merril
1994 Mounted Stones with Gold Circle - 100, Ludgate Hill, London, Skidmore, Owings & Merril
1994 Sculpture, Stones - London, Private Collection
1996 Water Sculpture - Marlborough, Private Collection
1997 Totems, Water Sculpture - London, Private Collection
1998 Four Figures - Taipai, Taiwan bank
Scottish National Gallery, Edinburgh
Museum of Modern Art, Kingston, Jamaica
Garderner Collection, Toronto
Museum of Modern Art, Brussels, Belgium
Silber Collection, California
J.B. Speed Museum, Louisville, Kentucky
The man stands alone
The silver trickle
From his water bottle
Is worth more than gold.
Parched clay shrinks
Wounds open in the river bed.
Bones whiten on the plain
The herdsman knows he must move
His little daughter
Seeing him silhouetted
On the ridge
There is our water bottle
Standing so proud
With its narrow neck
That is your father
All the sorrows of Africa
On his thin shoulders
A man stands alone
Parched clay shrinks
The herdsman knows he must move
The potter takes this story for his own
Pouring it back into the clay
Soon to be forgotten
The herdsman moves on
The pot stands alone.