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Sue Hanna and Antonia Salmon are renowned for their sculptural abstract ceramics, both creating strong forms with dynamic smoke-fired surfaces. These works are displayed in high-profile collections across the UK and internationally.
Antonia often explores the themes of containment and holding in her work, while other pieces examine the role of dynamism and stillness within one form. The pieces in this exhibition have been inspired by the works of Charles Causley, a Cornish Poet who captured the spirit of the landscape.
“Many of the works are hand built, using coiling, pinching and mould-making techniques,” Antonia says. “The forms are carefully honed to their final form, hand burnished and smoke fired. I hope that people will find a depth and mystery beyond words in the sculptures.”
Sue cites her interest in the visceral connection between nature, tribal art and fire. “My recent work is concerned with exploring the figure in the abstract, as well as objects decorated with geometric symbols and rhythmic patterns present in African art.”
Having recently invested in a new, larger kiln, Sue explores works on a larger scale in this exhibition. She also introduces locally sourced clay into her decorative process, creating a variety of slips to help develop her works’ surfaces.
Evoking a sense of timelessness, this collection invites the viewer to enjoy the contrasting surfaces of each piece and the presence found within their simplicity.
‘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.
