Let it Slip is a joint exhibition featuring the works of Prue Cooper, Hannah McAndrew, and Sean Miller as they celebrate their new slipware.
Slipware refers to the decorating process whereby slip, a liquid mixture of clay, is dripped, splashed, painted, or otherwise applied to leather-hard pre-fired ceramics.
The three ceramicists pay close attention to this visual dimension of their works, with Prue Cooper focusing heavily on the quotations that adorn the edges of her pieces, Hannah McAndrew using her 18 years of experience and practice to embody the floral abundance of her garden in her pots, and Sean Miller developing a range of functional domestic table and kitchen-ware influenced by English medieval and later traditions.
Although brought together by their mutual affinity for slip, each ceramicist explores unique aspects of their making and decorating process.
In this exhibition, Hannah McAndrew explores ways of translating love and recollections of a person into slip. Prue Cooper recalls conversations she had with her brother and utilises quotes and imagery to bring her pieces to life. Sean Miller experiments with variations of marbling and feathering techniques and enjoys observing the subtle differences to the final product once fired depending on where it is placed when it is wood fired.
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This exhibition profiles the works of seventeen esteemed makers, each of whom have recently been awarded Selected Member status by the Craft Potters Association.
An exhibition of works to coincide with the launch of Adam Buick's new book 'Raw Earth'. Adam uses a single pure jar form as a canvas to map his observations from an ongoing study of his surroundings. He incorporates stone and locally dug clay into his work to create a narrative, one that conveys a unique sense of place. The unpredictable nature of each jar comes from the inclusions and their metamorphosis during firing. This individuality and tension between materials speaks of the human condition and how the landscape shapes us as individuals.
‘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.