Matthew Chambers’ meticulously constructed forms draw inspiration from geometric and optical art, constructivist themes, modern architecture and design. These interests are pursued in an abstract sense, by exploring shape and making mathematically constructed pieces in clay, each built up of many different wheel‑thrown sections. Finished with integral colour and left to dry out for several weeks, these circular forms are then fired, polished, re‑fired and polished again.
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Adam Frew works in porcelain, creating thrown functional and large one-off pots. He revels in the spontaneity of throwing, the speed of production, seeking to reflect this energy in his distinctive mark making. These marks are continually evolving, but are always energetic and confident.
Adam works in contrasts: of lines or washes, glazed and unglazed, blues and oranges or reds and more recently, applied ridges. “A sense of energy has always been central to my work. Working with the clay in a way that is fluid and quick, and doesn’t require much reshaping.”
Charles Bound ‘s work is unconsciously influenced by significant periods of time spent in the USA, Africa, and the UK. Loose and elemental, it reflects the rugged landscape of Wales, particularly of the farm environment where he lives and works today.
Akiko Hirai makes largely functional ware using the Japanese tradition of allowing the clay itself to show the way in which it wants to be fired. She tries not to control her materials but to let them and the unpredictable environment of the kiln dictate much of the resulting shape and colour of her work.