Susan Nemeth makes one-off handbuilt porcelain items. The decoration is integral. Using many layers of stained porcelain slips and inlays, rolled and stretched, a high density of colour is achieved. Sanding between firings gives a smooth matt finish. Her work is widely exhibited and in various prestigious collections, and won her the 1990 Inax Design Prize.
Sunday, 30 August 2009
“I create sculptural objects by working with curves and lines, and I’m currently using this to explore the concept of inner space and solidity. Surfaces that are twisted or bent into smooth and strong curves are fascinating – concave shifting to convex, inside to outside, etc.” Danish born and educated Merete has been living and working in the UK since 2004.
Born in Brazil, she graduated with a degree in architecture in 1985. She was introduced to clay in 1986 and became fascinated by its possibilities. Her work is in stoneware and most recently she has been working with porcelain producing pieces on a large scale, wall panels and installations.
Sophie Cook studied ceramics at Camberwell School of Art 94 - 97. She is currently throwing porcelain bottles on the wheel. Her vibrant glazes embody subtle, sculptural shapes to create fluid almost luminous forms which suggest a contemporary feel to a traditional craft.
Saturday, 29 August 2009
“In my work I often set out in one direction with a form and then introduce new elements which challenge the assumptions and convictions of the first idea. I suppose I am aiming to reveal something about both elements by that interaction.”
Ian Byers, the author of ‘Raku’ has taught, lectured and exhibited in England and Europe.
Jonathan Wade studied at Bath Spa University College graduating in 1996. His making techniques and influences are varied with the art and design of the Far East being the strongest inspiration at present. Contrasting elements are an important part of his work. This may materialise in loose decoration or soft glazes over tight forms.
Emily studied at Camberwell and Bristol School of Art. Has been working as a studio potter since 1989. Her stoneware is distinctive for its strong controlled thrown forms and intense barium glazes. The thrown pots are often faceted or carved creating interesting new forms and textures. She is on the Crafts Council Selected Index.
John Pollex commenced his pottery career working for Bryan Newman and Colin Pearson. He set up his workshop in 1971 producing traditional slip decorated ware. In the mid 1980s he changed direction, having long been influenced by American ceramics, admiring their bright colours and improvised forms. He sees his work as three dimensional painting, clay substituting for canvas.
Clare studied ceramics at Bristol, graduating in 1987. Her stoneware is distinctive for its painterly exploration of texture and colour, applied to the exterior surface of the finely thrown form. She makes mainly bowls and vases, which are sold in galleries throughout the UK and has work in many private and public collections.
‘I make a range of domestic and decorative earthenware. All work is thrown on a momentum wheel or handbuilt, but very often a combination of techniques is used. I am influenced by the European folk art traditions and early English slipware.’
Confrontation, energy, capturing a moment, these are the elements that inspire and are reflected in the pieces Emma makes. Her work is slab built and made from white and off white bodies, T material, stoneware and porcelain. Since graduating her work has been exhibited worldwide and she has received much acclaim for her dynamic work.
Geoffrey Swindell’s pots are thrown in porcelain. Sources of inspiration include marine creatures, fossils, tin plate toys, eroded objects. By extracting essential elements from these sources and reflecting them in his own imagery he hopes to create vessels with an ambiguous presence.
André Hess makes abstract, elusive shapes that require the viewer to question what they mean rather than puzzle over what they resemble. The work is both familiar and fugitive, but always evocative of the history and theory of clay. He uses any technique that fulfils the requirement. Surface treatments qualify what is already there, and are achieved using slips, oxides and frits only.