Paul Jackson has developed various ranges of highly decorated ware. More recently, Paul has been influenced by Russian and Islamic art forms and this process can be seen in the painterly abstraction on some of his decorative motifs. The driving force behind all Paul’s work is energy which expresses his Cornish surroundings with their strong sense of colour and style. Paul uses white earthenware to construct his energetic and sinuous forms. The clay allows for the dynamic shaping of the pieces which form the vessels. They go on to be given diverse and colourful decoration.
Richard Phethean is a long-established professional potter whose work has been exhibited and collected widely across the UK and Europe. He is a Fellow of, and previous Chair of the Craft Potters Association, a member of the Cornwall Crafts Association and of the Penwith Society of Artists. Making thrown, altered and assembled vessels in coarse textured red and black earthenware clays he decorates his pieces using brushed slips and resist techniques. His current work combines references to ancient pottery, European slipware traditions and early twentieth century abstract painting.
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.”