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Charles was born in New York City in 1939. After graduating from Union University in 1962 with a degree in English Literature, Charles spent the next three years teaching at secondary level. From 1965 to 1971 he worked for a publishing company, dividing his time between the USA and Africa. By 1972 he was juggling a variety of commitments: teaching, travelling, writing and theatre work, mostly in Kenya. Charles did not come to study ceramics until 1983, setting up a studio while working as a college technician and teaching. In 1994 he was gifted the use of space on a farm where he could build his own wood fired kiln, which he has been working with since.
Charles’ work is unconsciously influenced by significant periods of time spent in USA, Africa, and UK. Loose and elemental, his work reflects the rugged landscape of Wales, particularly of the farm environment.
“As things come out of the kiln with fused sand from the floor attached, distorted, occasionally with bits spalled off, I have begun to cultivate the wreckage that occurs in a wood kiln.”
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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.