Peter Beard’s work has been loosely inspired by flat textured surfaces in stone, both man-made and natural, and is a continuation of his exploration of form and colour. Integrating more complex patterns to his usually wax resist techniques, Peter will also be going in a slightly new direction in the forms and techniques of his ground work.
Wax resist technique is layering glaze and painting patterns in wax between the layers to create pattern and texture with the wax burning away in the kiln. Peter builds to 1cm thickness and glazes his pieces up to three times before grinding away at the surface to reveal the colours and patterns formed within the structure, starting coarse and going finer until the surface is silky smooth. This process means that the works can take up to six months to make.
“I hope people will get pleasure from my work over many years and continually see new areas of beauty within the surface. To have a timeless quality.”
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.
