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Ruthanne Tudball and Jeremy Steward each have longstanding careers in ceramics creating work that feels organic and holds an earthy authenticity. Jeremy wood fires and salt glazes his work while Ruthanne is renowned for her soda glaze firing, both resulting in rich, layered surfaces.
Working from the renowned Wobage workshop in rural Herefordshire, Jeremy Steward is inspired by the soft fluidity of the materials themselves — clay on the wheel, slip and raw glaze. His work is often decorated by using wooden roulettes and stamps to impress deeply textured patterns into the freshly thrown forms.
Based in Norfolk, Ruthanne Tudball has welcomed the way that sketching, and life drawing in particular, has trained her eye, helping to develop the sense of form she translates into her ceramic art. Ruthanne’s functional pieces are assembled and manipulated while wet, capturing the soft organic quality of clay.
Don’t miss the chance to collect a piece from this beautiful collection of new works by two highly influential makers.
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‘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.