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Through 40 Years in Clay, nationally recognised maker Anna Lambert presents a new collection of handbuilt earthenware ceramics celebrating the landscape.
Influenced by a practice of landscape drawing, these works evoke Anna’s emotional attachment to place – her own valley in Yorkshire and the land around her mother’s home, amongst others.
She creates three-dimensional paintings through her work; carefully considered forms merge with surface scenes of trees, field edges and orchards. Assembling her pieces from slabs of clay, she then alters, cuts and fettles them, occasionally adding sections of texture from carved or linocut designs. Through her surface designs she explores narratives relating to climate change in the local landscape and the regeneration of orchards.
In this poignant exhibition, Anna explores a newfound sense of space, light and simplicity in her forms and surfaces. She also implements new colours made from mixing slips, oxides and body stains to bring more subtlety to her palette.
‘I build up the surfaces of my pieces spontaneously, riffing on ideas of space, narrative and joy. I get to a point where I can push things a bit, hoping something exciting will happen – and sometimes it does.’
“The work has a strong tactile quality, as does the natural world. I don't wish to imitate nature but aspire to echo the process of nature.”
“Everything created, either functional or decorative, has equal importance,
and the integrity of this thought is the driving force behind my daily practice as
a potter.”
The driving force behind all of Paul Jackson’s
highly decorated work is a desire to express
his Cornish surroundings, with their strong
sense of colour and style. Paul uses white
earthenware to form energetic vessels
which are then decorated with colourful
and painterly abstract decorative motifs,
some influenced by Russian or Islamic art.
Richard Phethean makes ceramics
using coarse textured red and black
earthenware clays referencing
ancient pottery as well as European
slipware traditions. Richard utilises
brush and resist techniques to create
cubist‑inspired abstractions that adorn
both his domestic vessels and altered
and assembled forms.