Ceramic Art London 2020 Catalogue by Craft Potters Association

The International Contemporary Ceramics Event of the Year

Contents

host and organiser

official media partner

The Craft Potters Association of Great Britain was set up in 1959 as a self-help organisation by makers, then often rurally based, to bring greater visibility to the work of craftspeople, particularly in the capital where so much of the money and trade was located. When Ceramic Art London was founded in 2005 it sought to further extend this mission, beyond the membership of the CPA and beyond the borders of the UK.

Ceramic Review is the international magazine of contemporary and historic ceramic art. Proudly celebrating its 50th anniversary this year, the magazine has been continually inspiring ceramic communities with its exploration and in-depth reports on the heritage and changing trends of ceramics both in the UK and abroad since 1970.

As some fear a contraction of internationalism, whether through xenophobia or, now, fear of disease, what you see before you is a triumphant showcase of individual expression from 14 countries revealing, refreshingly, no dominating trend or artistic style but rather an incredibly diverse set of responses to the medium. Take the time to read the artists’ statements and you’ll see that this visual heterogeneity is further reflected in the approaches behind the work, technical, symbolic or inspirational. And this year we are able give much more significance to conceptual and large scale work in form of the BCB Pavilion, a small window on the wonderful British Ceramics Biennial that takes place every two years in Stoke-on-Trent. I feel strongly that this, our biggest and boldest and broadest CAL yet, is testament to man’s oldest technology moving forward in rude health. Now wash your hands. Toby Brundin, Business Manager

Published bi-monthly, the magazine combines authoritative features with a strong journalistic editorial style and top-quality photography. CR regularly includes profiles of the most exciting names at work today, features interviews with new names who are making their mark in the field of ceramics, hosts a practical how-to Masterclass series with top ceramists, both in print and online, and includes highlights from leading auction houses on the latest trends emerging in the world of collecting, alongside the latest news, reviews exhibitions and events. An invaluable resource for potters, ceramists, ceramic artists, collectors, enthusiasts and students, you can now access 50 years’ worth of searchable archive with our digital catalogue going right back to issue one. To find out more and to access the archive while you are here at the show, come and meet the team on the Ceramic Review stand. Karen Bray, Editor ceramicreview.com

Welcome to CAL 2020 3 Welcome from Central Saint Martins 5 CLAYTALKS 7 BCB 10 Exhibitors 14 Index and floorplan 152

Welcome to CAL 2020 Some will say that Ceramics is having its time and that it’s back in fashion. Certainly there is an upturn in interest in all things clay, but there is something more significant happening within our communities which has seen an increase in the need to have and to use the hand made. Perhaps this is a response to our digital lives, our growing conscience for the environment or craft’s late arrival to the art world. Whatever is precipitating this positive development it is having a significant effect on the opportunities for the public engage with the world of ceramics. At Ceramic Art London we aim to exhibit the breadth and diversity of ceramics today; our standards are high and the work you see is made by some of the leading makers in ceramics today. This is my first CAL as Chair and I am delighted that it is such an exciting show and wish a very warm welcome to our visitors. This year sees the show grow allowing for an additional 20 stands, a new exhibition Pavilion showing highlights from the British Ceramics Biennial, live demonstrations throughout the weekend and more space for the ever-popular book and tool shop. Preparations for the show started early last November when the selection panel met to choose the exhibitors looking at over 2000 images, and after much deliberation we made our final selection. We are honoured to have so many talented artists exhibiting, and we hope that through their work you experience the diverse range of work currently being produced. This year we welcome 34 first-time exhibitors to the show a long with many international exhibitors, all of whom make such an important contribution and guarantee there is always something new to feast the eyes on.

The Claytalks programme runs throughout the weekend and offers a chance to contemplate the wider range of subjects within ceramics and listen to insightful presentations. Along with a fascinating group of presenters we are delighted to welcome Dame Magdalene Odundo as our keynote speaker. Magdalene’s infectious enthusiasm and deep knowledge of her subject will certainly make for an inspiring presentation. The show would not be possible without the immense efforts and dedication of the exhibitors who have been burning the midnight oil in order to present the very best of what they do. Most of the work on the stands has been made especially for the show giving the visitors the opportunity to be the first to view and purchase unique works. Every single one of your purchases, and your continued interest and engagement with our work goes towards making what we possible. You may also be interested to know that many of the exhibitors at Ceramic Art London also sell their work through the Contemporary Ceramics Centre on Great Russell Street, opposite The British Museum, so please take the opportunity to visit when you’re next in town. So, it leaves me to say thank you to Toby Brundin, the staff at the CPA and the very organised Susan Beresford who work tirelessly to make the show happen. And lastly thank you to Peter Beard for handing the baton over, I hope that I can do as good a job as you did. Lara Scobie Exhibitor and Chair of the CAL 2020 Organising Committee 3

Welcome from Central Saint Martins High Five! Celebrating a five year relationship.

Welcome to our creative ceramics community at Central Saint Martins We explore and challenge the versatility of clay as a creative medium – a material that is universal, unique and enduring. If you like what we do then we would love you to come and study with us. From BA Ceramic Design to MA Design: Ceramics and PhD, find out more at www.arts.ac.uk/csm or contact Anthony Quinn, Subject Leader: a.quinn@csm.arts.ac.uk

We at Central Saint Martins are very lucky to have developed a strong relationship with Ceramic Art London and the Craft Potters Association. This year we are celebrating the 5 year anniversary of hosting the event here in the Granary Building. I don’t think I am being too bold to claim during this period we have watched the event go from strength to strength. The atrium space offers an exceptional context in which to host the work. The growth of the event is evidenced this year by the new pavilions extending into the The Crossing. We value our burgeoning relationship with the CPA and CAL. We value the insights, the connection, the influence and the reach that it affords our academic programmes. We also value the flow back upstream, what we learn and gain from our association. The more Charitable trusts, Craft Associations, Higher Education Institutions, Member studios, Artists, Potters and Makers that are involved in the discussion then the more engaged, collaborative, thoughtful and impactful our discourse will be! As the leader of one of the largest educators in the subject in Europe, it is essential we are at the centre of such debates, that we use our connections through this mercurial and downright tricky material to grow an inclusive community, that supports participation, endeavor, craftsmanship and the acquisition (and sharing) of knowledge. A community that can advocate for the subject with a coherent and universal voice!

a reboot of the old National Association of Ceramics in Higher Education) proposing we adopt a new celebratory message and move towards a more open ceramic community. The intention being to reflect this broadening definition of what education means and of who is an educator: you don’t need a building such as this one to be considered an educator; many of the craftspeople here today have been educators for many years, through teaching assistants, apprentices and running 1 to 1 classes in their studios. Today, we see the skill and knowledge, the output of these studios, the evidence of many years of teaching and learning on show here in this event! So, I would like to welcome back potters, artists and makers; buyers, gallerists and enthusiasts. If it’s your first visit, then you’re in for a treat. Feast on a selection of some of the most talented and diverse ceramic artists in the country and the world, a talks programme curated by CSM’s very own Duncan Hooson, and a work in progress show of our final year students playfully titled Future Experts. So, welcome to the community! High Five! Anthony Quinn Course Leader of BA Ceramic Design and Subject Leader Ceramics, Central Saint Martins University of the Arts London

At this year’s CAL we are launching a new association, The National Association of Ceramic Educators (it’s actually 5

CLAYTALKS Lecture Hall

CLAYTALKS

Located opposite the Bullet Café, behind Ceramic Review Programme curated by Duncan Hooson, Stage One Course Leader, BA Ceramic Design, Central Saint Martins

Friday 20 March 11:30 – 12:30 Tony Ainsworth Memorial Lecture | Dame Magdalene Odundo Magdalene Odundo has spent forty years in education as maker, researcher, supervisor, lecturer and external examiner to various international universities. Odundo’s creative career has been defined by her engagement with clay as the material that she has come to love. She associates clay with the history of human beings, of “utu” in Kiswahili. “Throughout our human history, ceramics link our human activities, be they ritual, social, religious and – dare I say – even political. From birth, childhood, marriage, death and afterlife, pottery has existed and affirmed our existence like no other art form.”

14:30 – 15:30

C J O’Neill | Material connections

C J O’Neill works with silhouettes and stories in combination with ceramics from found objects to 3d printed clay. Course leader for BA(Hons) Product Design & Craft at Manchester School of Art, O’Neill has recently specialised in site specific, residency-based projects. O’Neill will offer insights to her process of making with others through which objects emerge as a result of meaningful connections. Responding to material, people and context she will demonstrate the contribution of the sometimes unseen others in the work we do and the people we become.

16:00 – 17:00 Ceramic Review Debate Beyond Studio Pottery – the next 50 years of clay

Tessa Peters | Doing It Together! Public participation and performance within contemporary clay practice

This year marks the 50th anniversary of Ceramic Review, and this celebratory debate brings together a diverse panel to discuss the impact of studio pottery, its future, shared concerns and the growing possibilities of contemporary making with clay. Audience participation and questions will be welcome.

Ceramic art is often thought to be the outcome of solitary endeavour by individual practitioners, but over the past decade or so many clay artists have developed more socially engaged practices. This talk considers recent examples, their political, educational and aesthetic ambitions, and the potential benefits and possible limitations.

Chair: Duncan Hooson from Central Saint Martins BA Ceramic Design; Panel: potter and co-founder of Clay College and Adopt a Potter, Lisa Hammond MBE, curator at the Fitzwilliam Museum in Cambridge, Helen Ritchie, ceramic artist Ingrid Murphy and Tallie Maughan, founder and creative director of open access studio Turning Earth.

13:00 – 14:00

Dame Magdalene Odundo at The Hepworth Wakefield Photograph by Charlotte Graham

Tessa Peters is an independent curator and educator, a Senior Lecturer at the Ceramics Research Centre-UK, University of Westminster, and an Associate Lecturer at Central Saint Martins.

CLAYTALKS

Saturday 21 March 11:30 – 12:30

Lawrence Epps | Hidden Treasure – acts of acquisition and disrupting the rules of the gallery

Lawrence Epps works with ceramics in a conceptual way. He has a track record for thoughtful, beautifully executed work involving his audience and disrupting the accepted rules of the gallery experience. He will discuss a range of his most recent projects exploring the nature of chance, success and our relationships to objects of value. Working with ‘the low status and dirty material of clay’ in combination with industrial processes such as extrusion and casting, Epps’ installations ‘invite reflections on conformity, desire and acts of acquisition’.

13:00 – 14:00 Dr Guan Lee Digital Manual – innovation and experimentation with sustainability of crafts and materials Dr Guan Lee is a lecturer in architecture and co-founder of Grymsdyke Farm, set in the village of Lacey Green, Bucks, which engages in a wide range of experimental fabrication techniques. Its aim is to design between processes of making and sustainability. Digital Manual is an ongoing research project which investigates new methods of manufacturing architectural components using different composite materials including clay, while questioning their technological context in the 8

CLAYTALKS

sphere of social sustainability. At Grymsdyke Farm context, place and human skill-based techniques are equally important in an increasingly automated design-manufacturing industry.

Sunday 22 March

14:30 – 15:30

Simeon Featherstone | Keeping it Local with Clay

Christie Brown Untold Forms of Life – conversations with material

Featherstone reflects on his continued ceramic practice and role as creative facilitator of public art projects in the UK. Using clay to make connections between people and their local environment, he explores how different models of practice can support stronger and healthier communities

Pryke has a passion for tableware; she works simultaneously across several scales of production, from her own slip-casting practice, to designing for industry giants. She delivers pared back simple forms that are about function and utility, but at the same time imbue familiarity and warmth. Her style is derived from a mix of traditional British tableware design from experience as a designer at Wedgwood to working with IKEA.

Simeon Featherstone develops mixed-scale ceramic artworks in a variety of local settings through his practice, Parasite Ceramics. He also supervises clay activities at MAKE, a new Central Saint Martins’ site working with the local communities of Camden.

Sue Pryke has been working within the tableware industry for 25 years, collaborating with volume producers and high street retailers, as well as making small scale studio work for independent shops and galleries.

Christie Brown offers an overview of her many years of figurative ceramic practice in relation to museum collections, including the Freud Museum, the Museum of Childhood, and most recently the Potteries Museum in Stoke, as part of the BCB 2019. An active member of the CRC-UK she will also reflect on their recent symposium Clay Across Cultures, in the context of the exhibition Beyond the Vessel in Istanbul. Brown is an artist and Emerita Professor of Ceramics at the University of Westminster. Her work is featured in several private and public collections in Europe and the USA.

16:00 – 17:00 Professor Steve Dixon Ceramics, narrative and commemoration The presentation will outline the development of Steve Dixon’s creative process across thirty-three years of ceramic practice, as maker, curator and academic at Manchester School of Art, examining the unique potential of ceramics as a material for narrative and commemoration. Recent projects have focused on issues of conflict and explored strategies of collaboration and co-creation to ‘materialise’ the experience of refugees and asylum seekers in the UK.

11:30 – 12:30

14:30 – 15:30

Sue Pryke | Ceramics, craft and industry

13:00 – 14:00 Claudia Clare | And the Door Opened – a travelling ‘work in progress’ show using pots and their processes as a campaigning tool for social change Claudia will talk about her partnership with Women @the Well, which aims to enhance the public’s understanding of prostitution, help bring about a change in social attitudes, and reform the legal settlement. She will ask whether these aims are being met, and what changes, if any, might need to be made. Claudia Clare is a potter and radical feminist whose work is informed either by her feminism or her scepticism. She is the author of Subversive Ceramics and ‘too many Facebook updates’.

years

makers:

Sophie Cook; Lisa Hammond; Ikuko Iwamoto; Ashraf Hanna.

p h oto s :

courtesy of the artist; Anna & Tam; Juliet Sheath; Sylvain Deleu

1970–

2020

CAL EXCLUSIVE

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Shaping British ceramics since 1958 The Craft Potters Association is dedicated to supporting independent ceramists in Great Britain and promoting public interest in studio pottery Why join the Craft Potters Association? COMMUNITY Learn about makers and events in your area and beyond through our weekly newsletter highlighting opportunities and developments in the field. OPPORTUNITY Members have the chance to exhibit and sell at our popular, long-running fairs and attend master classes and training sessions.

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STAND 1

Works 57, Unit G4 57 Chippinghouse Road Sheffield S8 0ZF

07803 083687 www.zoe-w.com Image: Elephant and Calf

07796 376800

STAND 2

Moss Villa Tilstock Road Whitchurch SY13 3JQ

www.andrewwalkerceramics.co.uk Image: Group Shot – Unglazed black and terracotta

Hand built and finished with slips

Slab built in various sizes

h 30 cm approx.

Andrew Walker

Zoe Whiteside Zoe Whiteside’s work is primarily a celebration of the animal. Taking inspiration from many sources, her work is equally about the material she uses, the method of construction and the quality of surface – which are in themselves an endless preoccupation. All pieces are hand-built 14

from slabs of clay and painted and multi-fired with matt slips and glazes.

Symmetrical lines and shapes from our architectural landscape play a huge part in my work. Once I delve deeper into the detail, the imperfections created through fabrication become just as important. I often think about the construction in these details, some being invisible and many being purposeful. This honesty is often built into the design of my vessels, allowing for subtle differences in the hand building process which give the viewer an insight into its construction. Most of my work is purposefully left unglazed to reflect the core nature of their natural materials thus remaining honest to their origins. 15

STAND 3

98 Railton Road London SE24 0JY 07714 749128 www.henrypim.com

+49 (0)176 2355 9757

STAND 4

Porzellanunikate Karin Bablok Allermöher Deich 445 Hamburg 21037 Germany

IMAGE: Rocker

www.karinbablok.de

extruded paperclip low fired volcanic glaze

IMAGE: Porcelain thrown on the wheel, altered

H 21 cm, W 21 cm

Painted with Basaltglaze Reduction firing at 1300°C H 20 cm Photo by Axel Fidelak

Henry Pim

Karin Bablok Jet black, bluish black, olive black, pitch black strokes halted in their flight, perhaps incomplete, yet vigorous; white background: mute, withdrawn presence, yet essential to the stark contrast. Western culture looks to the East, yet it would be a mistake to see the painting on Karin Bablok’s porcelain as related 16

to calligraphy. The balance, displayed by calligraphy masters can appear aesthetically like a closed completion, a sort of visual and philosophical perfection. With Karin Bablok, the harmony is ever moving. The artwork’s stability is never static, never really complete, but extended through our gaze.

Henry Pim’s grid structures in extruded paper clay reference maps, plans or diagrams. They also suggest 3d structures seen in the natural world and in the man-made built environment. Grids represent our attempts to measure, to define and to control how and where we live. As maps, grids describe how we understand the world. As plans, grids become speculations as to how existing knowledge can be applied to create something new. Making sense of the world is a fundamental part of human intelligence, and by extension, it is the source of all of Art practice. 17

STAND 5

95 Herne Rise Ilminster Somerset TA19 0HH 07974 376560 www.heidiwarr.co.uk

07522 167411 Instagram @hyujinjo_ceramics IMAGE: Teapot and teacup (tea for one)

STAND 6

Studio 2-09 2nd Floor Building 7 Vanguard Court R/O 36-38 Peckham Road London SE5 8QT

IMAGE: Flight of Freedom Hand thrown earthenware charger, decorated using incising and underglaze colours

Hand textured porcelain

w 14" approx.

Heidi Warrâ&#x20AC;&#x201A;

Hyujin Jo Hyujin Joâ&#x20AC;&#x2122;s work focuses on texture. She creates her textures by hand, working each piece individually, so that every piece is different. She creates free textures on her functional ware. 18

I create individually hand-built and hand-thrown earthenware vessels, each decorated using traditional methods. My influences include nature, architecture, history, poetry, culture, optical illusions and psychology. The pieces I create are bold statements and merge the traditional with the contemporary. My design focus is on the surface decoration, the vessel is a canvas for my designs. My designs have 3 important elements; firstly the design needs to be pleasing from a distance. Secondly, my designs are perfectly executed when inspected closely. Finally, each design has a meaning and a message that I convey through my artwork. 19

STAND 7

114 Downham Road Downham Billericay CM11 1QQ 01268 710032 www.davidmillidge.com IMAGE: Exploding Yellow Pot Earthenware, Hand built/slip-cast, layered glazes and ceramic transfers h 35 cm, w 40 cm, d 40 cm

David Millidge New works by David Millidge explore the evolution of pottery to ceramic sculpture. Although clearly based on traditional shapes of pots and bowls, these works show a transition away from the functionality of these vessels. They reveal a transformation as they expand, explode, fragment and re-assemble. The decoration or adornments of these containers develop to become the structure itself as they evolve into sculpture. In addition to asking questions as to their identity, the use of layered glazes and lustres renders them aesthetically stunning. 20

Oxford Ceramics Gallery

Opens 8th April

Hans Coper, Lucie Rie & Pupils OXFORD CERAMICS GALLERY

www.oxfordceramics.com 29 Walton Street, Oxford OX2 6AA +44 (0)1865 512320

07450 277860

STAND 8

Studio 200, Cockpit Arts 18–22 Creekside London SE8 3DZ www.simonkiddceramics.com IMAGE: Murlough Murlough Bay, County Antrim Porcelain H 21 cm, w 18 cm, D 9 cm

Simon Kidd CPA Kidd’s practice is a collection of projects of ongoing exploration of spaces across Northern Ireland; Sliabh Dónairt, Dregish and Murlough. The pieces which make up these projects use these physical locations as catalysts for reflection; allowing these objects to become physical manifestations of thoughts, feelings, and ideas the country evokes. These places are explored not only for their physical presence and beauty, but also for their cultural, political, and symbolic importance. 23

STAND 9

1-905-599-2315

1-902-403-7233

STAND 10

2069 Westmount Drive Oakville, ON L6M 3P2 Canada

310 Portland Street Dartmouth Nova Scotia B2Y 1K4 Canada

www.junniekim.com

www.toniloseypottery.com

IMAGE: Closer than you know

IMAGE: Blue

Glazed Porcelain, Gold Luster

Earthenware-Wheel Thrown, altered and assembled. Oxidation fired to cone 08, multiple layers of sprayed glaze and slip applied, fired to cone 09 multiple times between colour and textured materials application, glaze â&#x20AC;&#x153;buttonsâ&#x20AC;? applied and final fired to cone 07

Each H 38 cm, W 25 cm, D 22 cm

h 56 cm, w 41 cm, d 36 cm

Joon Hee Kim Toni Losey My work approaches the subtleties of living, defined by form, movement, colour and texture. The exploration of complexity of movement is evident in the contours of the body and the placement of the appendages. I reference growth patterns found in the natural world and explore the inherent movement found within these systems. Highly textural, seemingly organic surfaces invoke a belief we are experiencing mimicry of life. In my attempt to fix a moment in time, I am interested in how we perceive and assign qualities of both the object and the organic to the work. 24

Her work explores the significance of existing as a human being, examining and reconciling diverse identities and heritages, as well as the compelling forces of beauty and desire. It is said that the human is a living vessel. Her work consists of sculptural ceramics around her interpretation of the human form as a vessel. She thus creates multiple viewpoints within a global context. Her work moves the ordinary into symbolic archetype reconciling tradition from her culture to become a measure of human experience. She tackles the idea of beauty and joy in juxtaposing classical art and historical heritage, with contemporary concerns. 25

STAND 11

07973 633464 Instagram @kathryn.hearn.porcelain IMAGE: Flail & Lay Vessel No 4

Studio E2R Cockpit Arts Cockpit Yard Northington Street London WC1N 2NP

STAND 12

112 High Street Chatteris Cambridgeshire PE16 6NN

07941 087372 www.helenjohannessen.co.uk

Handbuilt Porcelain with body stained inclusions white Dolomite glaze

IMAGE: Textures of Time. London. 020/301640

H 20 cm

Screen printed, cast, hand built, parian porcelain H 22 cm, w 28 cm, d 24 cm

Kathryn Hearn Kathryn Hearn’s porcelain hand-built vessels are inspired by the atmospheric skies above the Cambridgeshire Fens, acknowledging the farming practices in this industrial agricultural landscape whilst reinforced by the fenlander’s tenacious and protective attitudes. It refers to the farmer’s intrinsic use of craft working within their uncompromising and functional environment. In addition, she is interested in cultural functional vessels, like the Korean Josean Moon Jar in the Fitzwilliam Museum in Cambridge. She is keen to refer to the very direct production and deconstruction of hand-building in these ancient jars, recognising imperfection but also the representation of femininity and purity. 26

Helen Johannessen I have always used illusory and playful surface effects in my ceramics. The exploration of solidifying liquid clay through casting and mark-making with coloured clay using screen printing or other methods all contribute to the ongoing development of my work. I respond to atmospheres and the palette of

a place. Through combining colour, textures and graphical qualities my work evolves and allows my ideas of perspective and visual movement to emerge. Focusing on detail, in a world where we are used to zooming in on a digital screen, my work often represents this aesthetic both metaphorically and visually. 27

STAND 13

COMPREHEN SIVE COVER AGE OF INTERNATION AL DEVELOPM ENTS IN CER WITH A EURO AMICS PEAN STAND POINT

Via Cugini 10/1 Reggio Emilia 42122 Italy +39 334 3931705 www.cuorecarpenito.com Hand building, clay slab, throwing papergres, glazed H 43 cm

Claudia Carpenito The sculptural vessels are the absolute protagonists of the Cuorecarpenito’s production studio, hand-built both in terracotta and in glazed ceramic. The main research of the ceramist Claudia Carpenito focuses on the formal balance of geometric and material forms with archaic evocations, while in the Bubble Family series colour plays a predominant role. Cuorecarpenito is a ceramic studio based in Reggio Emilia, Italy, founded by Claudia Carpenito in 2018. 28

Janina Myronowa (PL)

IMAGE: Bubble Family n.4

NEW CERAM ICS

T h e In t e r n a t io n a

l C e r a m ic s M a g a z in e

NEW CERAMICS 6 issues a year ANNUAL SUBSCRIPTION: World: surface mail E 58,- | US$ 65,World: airmail E 66,- | US$ 85,Price of single copy: E 11,- | US$ 12,NEW CERAMICS GmbH, Am Leiersberg 5 69239 Neckarsteinach, Germany Tel. + 49-6229-7079945 www.neue-keramik.de info@neue-keramik.de ONLINE SUBSCRIPTION: www.new-ceramics.com

STAND 14

74 Winterbourne Close Lewes BN7 1JZ 07903 818093 www.tgceramics.co.uk IMAGE: Table Vessels Thrown porcelain High fired Oxidation and reduction firing 1260–80°C H 10 cm, W 10 cm approx.

Tanya Gomez CPA My work looks at large thrown vessels; the pieces are thrown in parts and assembled to produce larger surfaces that are animated through throwing and glazing. Working in porcelain, I use a range of approaches in my throwing to create forms that will capture qualities of fluidity, movement, and provide

a sense of space. I make these works conscious of natural phenomena and dramatic landscapes, absorbing colour, shape, and the diverse qualities of the sea. I have also always lived by the sea and have a studio on the south coast. All of these influences inspire my work. 31

STAND 15

The Old Smithy 12 The Green Tackley OX5 3AF 07584 300302 www.dylanbowen.co.uk

+66(0)96 649 9551

IMAGE: 3 Bottles

www.eeiiaaiirr.com

Thrown and assembled slip decorated earthenware

IMAGE: Bulky Baby Hand-built, porcelain

STAND 16

129/4 Santiphap Alley Naret Road Si Phraya Bang Rak Bangkok 10500 Thailand

H 22–26 cm

H 9 cm, W 7 cm, D 7 cm

Eiair Are tiny lives valued? In a world where civilisation is the most worthy artefact, smaller creatures seem to lose their value just because they do not fit into such an environment. These miniature creatures represent how fragile and delicate nature is. When beings find it hard to live among us, 32

Dylan Bowen CPA I speak out for them through their aesthetic that inspires me. Hopefully, they are then valued.

Dylan Bowen makes slip decorated earthenware using traditional and contemporary materials and techniques. Bowen’s work has its roots in the slipware tradition but his approach is very innovative and unconventional. Clay is moulded, wheel thrown, cut and sliced. The slips

are then poured, trailed and brushed on. He aims to capture some of the dynamism and spontaneity of the making process in the finished work.

STAND 17

07917 861133 www.martinpearceceramics.com IMAGE: Standing Ring coil and slab built vitrious slips/wax finish

3A Water Lane Flitwick Bedfordshire MK45 1LD

STAND 18

Sawmill Cottage Beauport Park Hastings Road St. Leonards-on-sea TN38 8EA

07932 367515 www.barrystedman.co.uk IMAGE: Each passing day series Thrown altered white earthenware with slips, stains, oxides and glaze Tallest H 19 cm

H 37 cm, W 36 cm, D 22 cm

Martin Pearceâ&#x20AC;&#x201A; CPA

Barry Stedmanâ&#x20AC;&#x201A; CPA

I work with abstract sculptural pieces, inspired by the natural organic forms which surround us. I sketch a basic form, but work intuitively with the material and making process.

Thrown soft then altered, the clay is cut and marked and then brushed with pigment and glaze, painted vessels infused with the vivid light and colour of a changing English year.

STAND 19

07895 265702 www.jessicathorn.co.uk IMAGE: Oil Pourer Each oil pourer is slab built with porcelain. Shaping the clay using formers and a press mold and constructing each separate component with a contrasting coloured slip. The inside has been slipped with a colour and clear glazed for functional use. The outside has been polished with a diamond sandpaper for a smooth tactile finish.

Glendarragh Studio Newtownmountkennedy Co Wicklow Ireland

STAND 20

Centrespace 6 Leonard Bristol BS1 1EA

+353 (0)877 665415 www.chloedowds.com IMAGE: Thrown and dyed Herend porcelain Inlayed orange line inside and out Clear glaze inside, unglazed and polished outside L–R: H 7 cm, W 4 cm H 10 cm, W 3.5 cm H 13 cm, W 3.5 cm

H 12–15.5 cm, W 7.5–9.5 cm

Jessica Thorn Jessica is excited how a handmade object can allow an everyday ritual to become more pleasurable. She designs and makes her own functional pieces, inspired by antique kitchenware, to be handled and used whilst also being enjoyed as sculptural objects. Each piece is individually slab-built or thrown with 36

Chloe Dowds porcelain, focusing on showing off the pure quality of the ceramic. These individual pieces are constructed using Jessica’s elusive joining technique leaving a stitch like line and a trail of her makers mark. This process is driven by her belief of the value and importance of showing craftsmanship in handmade objects.

Inspired, in part, by the work of Josef Albers, Chloe Dowds uses line and colour as subject matter in her new collection. Using simple cylinder forms and circles she allows the pieces to interact through careful curation. She controls the palette of greys by dying porcelain by hand in her studio in

Co. Wicklow, Ireland. Her wall pieces are hand built and decorated as if she’s painting on a ceramic canvas. This collection is unified through fine inlayed lines and finished using polishing techniques to ensure the work is super soft to the touch. 37

AN AUCTION OF STUDIO CERAMICS The Leonard and Alison Shurz Collection An exceptional collection of British, North American, European & Asian studio ceramics

The Cheshire Saleroom, Macclesfield Wednesday 15th & Thursday 16th July 2020 Further information Jason Wood 07763 475442 jason@adampartridge.co.uk

Lucie Rie (1902-1995) Fluted stoneware bottle Est. Â£5000-7000

STAND 21

07950 298128

London 07496 390068 www.ferreiravisuals.com/ceramicwork IMAGE: Hidden Depths wall piece, handcut porcelain tiles on perspex box

www.akikohiraiceramics.com

STAND 22

Unit G3 The Chocolate Factory Farleigh Place London N16 7SX

H 80 cm, W 80 cm

IMAGE: Abandoned Mulberry Wood Ikebana style flower vase Hand-built stoneware, Dry glaze, reduction fired H 35 cm, W 45 cm, D 30 cm

Lucas Ferreira

Akiko Hirai CPA Akiko makes practical and large decorative ware using the Japanese tradition of allowing the clay to show how it wants to be fired itself. Her work also allows the viewers to find out the language of the objects in their own ways. She focuses on the interaction between the objects and the viewers. Her work and unique 40

approach to ceramic work have had much high praise and her work is becoming more in demand from her commissions worldwide.

My work is a celebration of irregularities. I start with simple shapes which are repeated thousands of times, revealing subtle textures when put together cohesively. I like to think of my handcrafted fragments as building blocks so that I can alter the rhythm of an assembly depending on how I feel. In this sense, my work is more organic and spontaneous rather than rational and cerebral. My ultimate goal is to invite the viewer to be a sort of ‘voyeur’. A perspective is created that is not obvious, one that requires the participation of the spectator to complete the piece. 41

STAND 23

213 Beech Lane Lower Earley Berkshire RG6 5UP 07977 932824

07447 752783

STAND 24

2d/e Vanguard Court 35â&#x20AC;&#x201C;38 Peckham Road Camberwell London SE5 8QT

www.suemundy.com

www.kimhojung.com

IMAGE: Lignum pair

IMAGE: Flow Collection 2019

Slab and coil built Black clay with inlaid porcelain H 65 cm, W 18 cm and h 48 cm, w 18 cm Image by Cristian Barnett

HoJung Kim I developed a new material language that expressed my identity and voice in the form of vessels. I have developed the Flow collection. These vessels build a relationship with the space in which they sit and with one another. I aim to make objects that have an awareness of the space which they occupy, through the subtle movement of colours 42

Sue Mundy within a variety of forms. Utilising a combination of traditional and contemporary methods, I have developed the surface qualities of these objects, which explore flow and harmony drifting across the spaces.

Sinuous forms are created from slabs of clay. From these unassuming structures I stretch, break, heal or pare away the clay to realise individual forms. Coloured slips are inlaid or brushed to enhance the fragile tension incarcerated within each piece. Some stand alone whilst others form carefully considered gatherings, as if in dialogue. 43

STAND 25

07837 818346

8 Hydestile Cottages Hambledon Road Godalming GU8 4DL 07708 200017

STAND 26

11 Prospect Park St James Exeter Devon EX4 6NA

www.georgiegardiner.co.uk

www.jennysoutham.co.uk

IMAGE: Black, grey and white leaf vessel

IMAGE: The Blackbird Tree

H 24 cm

Slip decorated terracotta H 28 cm, W 15 cm

Jenny Southam CPA These sculptures are from my most recent body of work, ‘Knitting Pattern Folk’, which explore, as the name suggests, those wonderful quirky vintage knitting patterns which were part of my domestic childhood. Having collected them for decades, fascinated by the curious drama portrayed in the weirdly surreal photographic tableaux, these new pieces use the images as starting points to explore interaction between figures, props and backdrop. They all involve a painterly decorative use of slip and sgraffito upon the warm terracotta body of the clay. 44

Georgie Gardiner CPA I have always been inspired by natural organic shapes, using simplified curves and lines in my work. My range includes vessels, bowls and vases, thrown, turned then finished with bold graphic motifs. Layers of engobes, applied at the leather hard stage create a solid matt surface of colour becoming part of the form itself. I enjoy working within the constraints of the paper resist technique, continually refining my process of cutting and applying 2D shapes to create a visual balance between surface, form and pattern. I sand each piece after firing to create a smooth tactile surface. 45

STAND 27

07976 039552

16 Windmill Row SE11 5DW 07786 654598 www.agalismanessi.com

www.sunkimceramics.com IMAGE: Geometric Vases Wheel thrown and altered high fired glaze

IMAGE: Frida Kahlo

STAND 28

Unit 4A Vanguard Court 36–38 Peckham Rd SE5 8QT

Terracotta coiled and pinched plate, maiolica glaze, hand painted with oxides Diameter 35 cm

H 28 cm, W 43 cm, D 20 cm

Agalis Manessi CPA

Sun Kim CPA My work is focused on a range of functional ware. I explore traditional and contemporary aesthetics using porcelain and stoneware as the main material to produce my work. Most of my work is initially wheel-thrown, cut and then assembled using hand-building techniques. My aim is to explore three46

dimensionality, emphasising the sense of volume, tension and expansion within a form. I am fascinated about how everyday objects can influence our cultural habits and create a relationship in someone’s life. For me, making is a continuous journey and an attempt to understand my present environment.

My work lies within the tradition of maiolica and celebrates this rich historical medium. It strives for poetic mastery through pictorial representation, achieving a freshness of palette that belies the difficulty of the process. Subject matter is derived from portraits, figures and animal studies in museum collections or drawn directly from life. Once dipped in the glaze, vessels become like primed canvasses, with a subtle intermixing of oxides and stains creating a painterly palette. Modelled animals are portraits whose gentle humour is offset by the suggestive poise of their condensed forms camouflaged within the painted surface. 47

STAND 29

07845 533000 www.jillshaddock.co.uk IMAGE: Coffee Set for Two, detail Multilayered slipcast coffee cups, pourer, sugar bowl with slab built ceramic stirrers on a spalted beech plinth Parian, body stain and transparent glossy glaze

4 Sands Close The Sands Seale GU10 1LU

STAND 30

20a Bridge Gate Hebden Bridge West Yorkshire HX7 8EX

07770 424898 www.alitomlin.com IMAGE: Oval vases Burgundy & yellow, Green & yellow splash Thrown porcelain decorated with slips Unglazed outside, glazed inside Fired in electric kiln to 1290°C H 20 cm

Jill Shaddock CPA Fascinated by elevating and enhancing a process associated with mass production, my ceramics explore multi-layered slip casting. This involves creating unique handmade objects through precise repetition and detailed finishes, including the exploration of complex lamination and inlay techniques. These take the form of individual pieces and collections of curated works which blur the boundaries between the functional and the purely decorative. With a minimal aesthetic, considered form and refined colour palette the work is highly tactile. 48

Alison Tomlin CPA My work is a collection of thrown, uncluttered porcelain forms. I throw and turn the pieces to a fine finish which, when unglazed and sanded, gives the clay a paper-like, tactile quality, where I can apply my marks. I work with the chalky surface, applying stains, oxides and slips, splashing and sponging away

areas and inlaying lines while the pot is on the wheel. I aim to convey a feeling of movement and spontaneity, yet also one of calm and tranquillity.

STAND 31

Pica Studios Grape Lane York YO1 7HU 07789 246724 www.emilystubbs.com IMAGE: Pink Fragmented Vessel Slab built earthenware, layers of pink slips, oxides and clear glaze H 40 cm

STUDIO & CONTEMPORARY CERAMICS AND DESIGN AUCTION 23 APRIL THE MALL GALLERIES LONDON

Emily Stubbsâ&#x20AC;&#x201A; Through my work I explore the playful relationship between form and surface decoration. The vessel is my primary interest, created by building and collaging slabs of textured clay together. Drawing inspiration from my 2d paper collages and sketches I translate this process into clay, building up layer upon layer of slips and glazes. The finished vessels have a similar graphic quality to them, with bold colour, strong line and intuitive mark-making. 50

Viewing from Monday, 20 April. Details, viewing times, illustrated catalogue and free online bidding at www.lyonandturnbull.com Illustrated: Vessels by

JOHN WARD (BRITISH 1938-) Sideboard, circa 1940 by GIO PONTI (attrib.)

STAND 32

Askefield Gate Lodge Dublin Road Bray, Co Wicklow A98 D8W8 Ireland +353 (0)879 775335 www.grainnewattsceramics.com IMAGE: Indigo/flame ‘Vortex’ vessel Thrown double-walled Ming Porcelain vessel, decorated with Velvet underglazes H 20 cm, W 22 cm

Grainne Watts My current work features thrown vessels and a series of sculptural forms in porcelain and stoneware. I am inspired by the natural world, organic geometry and colour in particular. Throughout my artistic practice, a visual and tactile vocabulary has evolved that informs the development of my ideas and reflects what I love... colour, texture, form. I want my work to evoke an emotional and sensory response and pursue this in my choice of form, refinement of the surface quality and use of vibrant colour that stimulates the viewer. 53

STAND 33

07944 432238 www.leejaejun.com IMAGE: Rounded Vase for a flower

Brunnenstr.13 HĂśhr-Grenzhausen 56203 Germany

STAND 34

118 Broadway Cardiff CF24 1NJ

+49 (0)157 8790 7039 www.monika-debus.de

Wheel thrown, matt glazed

IMAGE: Form

H 20 cm, W 15 cm, D 15 cm

Handbuilt, painted with porcelain low salt firing H 36 cm, w 36 cm, D 29.5 cm

Jaejun Leeâ&#x20AC;&#x201A; CPA Jaejun Lee started his new career in the UK in 2019 after 10 years of education and working experiences as a ceramicist in South Korea. He works with porcelain on the wheel and makes both functional and decorative objects. He always tries to reach the goal of highest quality of ceramics so that people can feel the beauty of shapes, the calm from holding his pots, and satisfaction of use. He is meticulous at every stage of the process, as he believes this makes a big difference at the end. 54

Monika Debus The ceramic works of Monika Debus move silently between abstraction and representation while balancing on the cusp of painting. Their primary strength lies in a basic universal vocabulary. Combinations of simple forms, spontaneously painted with elementary signs evoke a multitude

of associations as individual entities. A salt-glaze finish gives the surface of the works a subtle depth which enhances their originality as well as their mystical aura.

STAND 35

France +33 (0)638 843 539

07802 436780

www.wenqiliu.com

www.kyracane.co.uk

IMAGE: Corrosion Porcelain H 13 cm, W 8.5 cm and H 16 cm, W 8.5 cm

Wenqi Liu My experience of creation is getting wider. I came to ceramics recently, either by coincidence or because of my sensibility for materials and texture. Creation for me is like a researcher exploring and mixing materials, trying to reach their limits. Ceramics offer infinite possibilities. I consider there are no good or bad techniques 56

3 Tan Gallop Studio Welbeck Nottinghamshire S80 3LW

STAND 36

Maison Revel 56 Avenue Jean Jaurès 93500 Pantin

IMAGE: Bowl Thrown and turned porcelain Diameter 21 cm, H 18 cm

Kyra Cane CPA and often, imperfections show the beauty of coincidence. On different scales, I observe details as much in the microscopic universe as in the huge dimensional. My works are about creating a dialog between the contrary, making them visible and searching the equilibrium across my poetical universe.

My love for making vessels never diminishes; in fact my fascination for the whole process of transforming a solid lump of clay into a voluminous fine walled ceramic structure only increases. The strict confines within which I work allow great scope for exploring constant variations of shape, proportion and surface.

Each pot develops a particular character as it is thrown, turned and then combined with abstract marks that are drawn to enhance each form. Finally through the fusing and movement of glaze materials and porcelain at high temperatures in my kiln the voice of each piece emerges. 57

STAND 37

Grilstone House South Molton EX36 4EG

07855 110603

07971 901938

www.sashawardell.com IMAGE: Tide vases Layered and coloured slip cast bone china

www.mitchpilkington.com

STAND 38

36 Tory Bradford On Avon BA15 1NN

IMAGE: Large Low, Green Sculptural Vessel Handbuilt with grogged stoneware clay and slip H 26 cm, W 42 cm

h 18 cm

Mitch Pilkington

Sasha Wardellâ&#x20AC;&#x201A; CPA Sasha has over 30 years of experience in the world of bone china and porcelain having studied in two centres of excellence, namely Stoke-onTrent and Limoges. She has taken elements of this industry and adapted them to a studio environment with her own production which includes bespoke vases, bowls, lighting and 58

tea ware. Sasha has concentrated on perfecting the craft-based skills which enhance the inherent qualities of bone china and her carefully produced distinctive work embraces and reflects contemporary taste and lifestyle. Each piece is individually made using industrial processes that Sasha has personally developed.

Drawn to the organic, natural forms of coastal forays and the worn, dry spirals of weathered conch shells gathered on warm Caribbean beaches, Mitch communicates the sculptural qualities of these influences. Her ceramics are instinctively hand-formed in an emotionally, intuitive and mindful process, providing her with the emotional salve to lifeâ&#x20AC;&#x2122;s challenges. Each piece is an emotional response to the clay. Within her work Mitch tries to create a haptic aesthetic that communicates a sense of calm, serenity and connection. 59

STAND 39

7 Earl Haig Crescent Belfast BT6 8NQ 07833 597139 www.annebutlerceramics.com IMAGE: Genesis Porcelain cubes are joined and constructed to form a solid block which is then sculpted and excavated on the wheel H 9 cm, W 9 cm

Anne Butlerâ&#x20AC;&#x201A; CPA I work primarily in Parian Porcelain, contrasting the delicacy and translucency when thin and the marble-like quality when solid. My interest in archaeology, geology and architecture is evident in my work which explores relationships and dialogues between process/techniques, material and History. 60

Manmade and natural structures are constructed/layered and deconstructed/ excavated to reveal associations between the transformation of material and the passage of time. I use a variety of making techniques which contrast industrial processes with the fallibility of the material and the handmade.

STAND 40

Cnoc an Eorna 17 Calgarry Ardvasar IV45 8RU 07756 843728 www.patriciashone.co.uk IMAGE: Ice Erosion Bowls Hand formed, porcelain, h 10 cm, H 9 cm

Patricia Shoneâ&#x20AC;&#x201A; CPA My work is influenced by the landscape around me on the Isle of Skye: the erosion of the hills by forces of climate and human intervention; patterns of the past drawn across the surfaces; the natural textures of clay reflecting this. I make functional forms, mostly bowls and jars because they are innately human vessels.

I try to achieve tension between the spontaneous textures and the formality of the vessel form. The pots are hand formed by texturing, stretching and carving. I use several firing processes, raku, wood, and saggar, giving a wide and subtle range of colour and density. 63

STAND 41

Daneshay 69a Alma Lane Upper Hale Farnham Surrey GU9 0LT

07732 194917

01252 401156

www.chriskeenan.co.uk IMAGE: Tenmoku lidded jars and Plate

STAND 42

31 Balin House Long Lane London SE1 1YQ

www.duncanrossceramics.co.uk IMAGE: Bowl Terra-sigillata

Thrown porcelain

H 21 cm

Jars h 15–18 cm Plate d 18 cm Photo by Michael Harvey

Chris Keenan CPA

Duncan Ross CPA

In late 1995 I attempted to make porcelain cylinders in a workshop in Woolwich – the first pots of my apprenticeship. Twenty five years later and I’m still at it. My pots remain predominantly functional in nature. But I like to go off-piste occasionally.

Using many layers of a fine terra-sigillata slip with resist and inlay decoration my surface qualities are achieved with up to 4 individual firings. I aim to develop a rich surface integral to the clay that has a feeling of depth allowing the final carbonising process to play its essential and unpredictable part. 65

STAND 43

Holzstrasse 7 München 80469 Germany

07745 774605 www.adamfrew.com IMAGE: Medium round pot with added orange foot

+49 (0)170 384 2831

STAND 44

21 Cullycapple Park Aghadowey Coleraine BT51 4AS

www.christiane-wilhelm-keramik.de IMAGE: Amphore: niece of stone

thrown porcelain slip decorated gas fired celadon

Stoneware 1250°C, thrown, incised structure, different slips

H 30 cm, W 30 cm

H 49 cm

Adam Frew CPA I make clean, simple forms on the potter’s wheel that subtly show the makers hand in order to imbue a sense of life in the work. I enjoy the spontaneity of throwing, the speed of production and I seek to reflect this energy in my mark making. My marks are continually evolving, I am interested in contrasts; sharp lines, crayon scribbles, brush marks, sponged back sections. It is this ongoing investigation that invigorates my making. 66

Christiane Wilhelm Christiane Wilhelm is inspired both by the form and the surface treatment, which in her hands leads to unconventional shapes in combination with individual surface treatments that create a harmonious whole. Her pieces have been thought through down to the smallest detail, there is nothing random about them and they have a certain sense of movement, an almost dance-like quality. 67

goldmark are delighted to represent these world-class international potters

Anne Mette HjortshĂ¸j (Denmark)

Kang-hyo Lee (Korea)

Orange Street, Uppingham, Rutland, 01572 821424

Jean-Nicolas GĂŠrard (France)

goldmarkart.com

Ken Matsuzaki (Japan)

STAND 45

2 Kennington Road Bath BA1 3EA 01225 465996 www.macdonell-ceramics.co.uk

STAND 46

Tanners Cottage Welsh Road Cubbington Leamington Spa Warwickshire CV32 7UB

IMAGE: Medium Bust

07722 125929

Handbuilt Glazed Ceramic

www.peterbeard.co.uk IMAGE: Grey green hollow form

H 34 cm

Wax resist decoration stoneware h 19 cm, L 26 cm, W 26 cm

Sally MacDonell CPA Peter Beard CPA Peter Beard’s forms are strong and simple with complex surfaces. Each piece works as a whole, combining form and pattern. His work uses techniques of layering glaze and wax, the wax acting as a resist for subsequent layers. This meticulous process creates complex patterns and colour. Alongside his 70

wax resist work he makes ‘ground’ pieces on which a large number of layers of coloured clay and glaze are built up over a long period, and then after firing, ground back to reveal complex patterns within the structure, giving a silky smooth surface.

I model each piece spontaneously pinching and squeezing slabs to form the female body. Leaving the joins revealed as evidence of the process and to hold elements of colour in the glazing. My building technique involves pushing out from the inside to give the figure a twist of the waist or a tilt of the shoulder; expressing a familiar transient moment. My aim is to connect with the viewer – to prompt a feeling of common humanity. 71

STAND 47

07496 610286 www.danielboyleceramics.com IMAGE: Large bottle Slab, thrown and assembled Salt and ash glazed H 40 cm, w 16 cm, D 8 cm

Manchester Ceramics Collective 65 Cornbrook St Old Trafford Manchester M16 7QB

STAND 48

Gorwydd Silian Lampeter Ceredigion SA48 8AU

07745 361281 www.katevans.org IMAGE: Sculpture Smoke fired ceramic H 10 cm, W 15 cm, D 10 cm approx. Photography Lucy Ridges

Daniel Boyleâ&#x20AC;&#x201A; CPA Daniel makes one-off thrown salt and ash glazed stoneware. He explores unconventional firing processes to enrich his thrown pots, which are contemporary and individual. Vibrant slips and ash glazes are used which encourage the firing process to leave its mark on the ware, developing textures and movement within the fluid glaze, producing unique works to be explored beyond their surface. Daniel has lived and worked at his studio in Wales since graduating from the Harrow Studio Ceramics course in 1991. 72

Kat Evans Pinched, coiled, and paddled, Kat Evansâ&#x20AC;&#x2122; ceramic sculptures are formed with rhythm. Gently burnished, the surface becomes a perfectly smooth canvas. Surrendered to fire, time stops. The porous surfaces record a memory of materials collected and received. The pieces that survive are carefully cleaned

and polished. These are intimate pieces, made to be held. Ambiguous objects that come alive in your hands. Not a vessel, but a home for ideas.

STAND 49

5801-504 1005, Heolleung-ro Sujeong-gu Seongnam-si Gyeonggi-do Republic of Korea

07914 986486 www.jgowland.com

STAND 50

Neills Cottage Neills Road Lamberhurst TN3 8BL

+82 (0)109 307 2140

IMAGE: Contra Mundum

Instagram @inhosong_

Stoneware with layered glaze, oxides & porcelain slip, porcelain clothing & masks, dressmaker’s pins

IMAGE: Kkokdu Series #42 Handbuilt partially glazed

H 25 cm approx.

H 47 cm

In Ho Song

Jemma Gowland The work explores the way in which girls are constrained from birth to conform to an appearance and code of behaviour, to present a perfect face, and maintain the expectations of others. The disrupted surfaces describe the vulnerability beneath. 74

My work expresses imaginary animals. First, I mould rough shapes of various animals using hand-building techniques. And then, I draw imaginary animals on them, just like drawing on a canvas. This work’s motif is a Korean traditional funerary figure, Kkokdu. Kkokdu is a witty humanshaped wooden figure, which is known as to take a role in sharing the happiness with the passed ones and relieving their sorrows, coming and going between this world and the next world. I reconstituted the Kkokdu with imaginary animals instead of human characters, and intended to satirize on humans’ greed and express other creatures’ dignity. 75

STAND 51

Plaza Jesús, 5 - 5ºB Madrid 28014 Spain +34 629 292679 Instagram @icaromaiterena IMAGE: Impress collage I (Metamorphosis series) Ceramic Stoneware PRAF (Sio2) Salts H 31 cm, w 37 cm, D 33 cm

weloveclay.com is coming soon

Ícaro Maiterena Ícaro Maiterena shares with us some ancestral “geological or organic” products. He looks closely. They require space, time and rest in order to abandon themselves to contemplative vertigo and encounter with the mystery of the surface and its diversity of textures. They are printed inscriptions so the clay and the artisan lived in unison, throughout the event: creative animistic process. Prints that need to be read, interpreted, signifiers of the meaning metamorphic-artistic process experienced. That non-material reality that permeates reality is what remains of the process and what you can recreate in the contemplation. 76

goldmark

STAND 52

916 Shima-cho Minuma-ku Saitama-city Saitama Prefecture 3370006 Japan +81 80 1193 1141 www.mihoinagaki.info IMAGE: Blue Box Stainless mesh, Cray, Glaze Reducton firing by wood H 9 cm, W 25 cm, D 10 cm

Miho Inagakiâ&#x20AC;&#x201A; On seeing a sculpture in a museum, I was inspired by the iron material so I tried using stainless mesh with clay and I achieved interesting results. A deformed shape and crack appeared because the two materials have different shrinkage rates. This has now become a major method in creating my ceramic work. 79

STAND 53

07964 853505 www.verityhowardceramics.com IMAGE: Monolith: Sacrificial Stone Series Slab built form with monoprinted surface. Fired to 1220 degrees in an electric kiln. White Stoneware Clay, Grey Slips and Grey and Black Underglazes

Wigan Lancashire

STAND 54

Artsite3 Studios Rockfield Road Hereford HR1 2UA

07880 598646 www.rachelgrimshaw.co.uk IMAGE: A Kind of Blue Solid, hand-built, heavily grogged stoneware with body stains added h 9 cm, w 25 cm, d 10 cm

H 32 cm, W 15 cm Photo by Dan Barker Studios

Verity Howard Verity is a ceramic artist who responds to subjects surrounding people, history and places. By creating slab-built works she captures feelings, moods, atmospheres and a sense of place. The forms Verity creates are contemplative, using clay as a medium for drawing and mono-printing. It is important to Verity that the form of her work is integral to the subject she is responding to, that surface and form work together to create a successful and harmonious composition. 80

Rachel Grimshaw CPA My work is about the clay: its pliable, immediate qualities. Like a photograph capturing a ‘frozen moment’, this material when fired fixes forever a gesture, an impression. I work in both porcelain and (separately) heavily grogged stoneware, colouring the clay with body stains and oxides. Parian porcelain is extremely receptive to the

slightest indentation and pressure of the hand. I enjoy subverting its historic connotations of delicacy and fragility by working with solid forms. In pushing the material to its limits my wish is to explore three dimensional shapes while retaining a real sense of the qualities of clay. 81

STAND 55

07512 577566 www.lesleydoeceramics.com IMAGE: Transition A series of sixty-four bottles slip-cast from a mould made by the artist from a ‘found’ object. Body stained, unglazed and polished porcelain, in 64 different colour increments from black to white. The process was repeated until the colour had returned to white porcelain without any predetermination of the final number of bottles of which the piece would comprise.

10 Parc Y Llan Cilcain Mold CH7 5NF

STAND 56

78 Minster Moorgate Beverley East Riding of Yorkshire HU17 8HR

07946 795896 www.davidbinnsceramics.com IMAGE: Group of Tall Vessel Forms Carved Stoneware Clay Cone 10 copper, iron & rutile bearing glazes Oxidized Firing H 28 cm, W 8 cm, D 8 cm

W 42 cm, d 42 cm, h 9.8 cm

Lesley Doe I am a ceramic artist exploring the repetition of form through slip-casting. I cast the mundane objects that populate our lives without a great deal of thought; objects which are considered to be useful but not beautiful, and which are often disposable. My process is transformative of these ‘found’ objects. By rendering them into 82

David Binns CPA porcelain, a prized material, these otherwise ephemeral items are transmuted into objects of beauty and permanence far removed from their original condition. The resulting pieces subtly question our relationship with those objects which are comfortably familiar; used and touched every day, but rarely considered.

My work combines both a controlled and spontaneous relationship with the clay, exploring how glaze reacts over differing clay bodies and surfaces. Inspiration is drawn from contemporary architecture and natural landscape, whilst being shaped by a deep respect for the fundamental principles of

Japanese aesthetics. I hope my work simultaneously suggests boldness and visual richness, whilst conveying qualities of simplicity and quietness.

STAND 57

Garden House The Parade Mousehole Cornwall TR19 6PP

07866 266861

STAND 58

Deiniol Williams Ceramics Unit 23 Asquith Bottom Mills Sowerby Bridge HX6 3BT

07766 334917

www.deiniolwilliams.uk

www.dohertyporcelain.com

IMAGE: Slab Platters

IMAGE: Pod Form

Wood-fired Stoneware

Soda Fired Porcelain

Thrown with stone inclusions and then altered, white slip, and wood-ash glazes

H 16 cm

H 6 cm, W 13 cm, L 32 cm

Deiniol Williams Deiniol’s ceramic practice explores the dichotomy between rhythm and discord, balance and disorder. Bringing together raw and unrefined materials and incorporating them into the clay, he seeks to find the harmonious point between the rhythmic flow of the potter’s wheel and the disruptive and 84

Jack Doherty CPA chaotic inclusions within the modified clay. These inclusions which are mixed into the fabric of the clay pushes Deiniol’s throwing skills to the limit. The act of throwing becomes a careful balancing act between the clay’s tendency to tear and collapse, and the control needed to create the forms.

Somehow, the sea and the sky and the land have infiltrated my work. The idea that tradition can be a dynamic and changing force has opened new possibilities and given fresh direction to the vessel forms that I make. Each one is a container, some with a practical function, but for me usefulness is more ambiguous. 85

A HOME FOR CRAFT The Crafts Council is opening a new public space in Spring 2020, bringing you world-class exhibitions about craft and making, as well as a lively programme of events, talks, workshops and more. Come and visit us from 28 March 2020. craftscouncil.org.uk Crafts Council Gallery 44a Pentonville Road London N1 9BY

@CraftsCouncilUK @CraftsCouncil #homeforcraft Crafts Council Registered Charity Number: 280956

STAND 59

330 High Street Cottenham Cambridge CB24 8TX

+33 (0)6 95 71 11 41

07833 123284

www.berangereceramics.com

STAND 60

2 Rue des Martyrs Samois 77920 France

www.alisongautrey.com

IMAGE: Keep me

IMAGE: Spun Porcelain Bowl

Tall house with “niches”, like miniature shelves slab building, coloured slip and porcelain slip

Cosmos Series H 6 cm, W 10 cm

H 30 cm

Bérangère Noyau Houses are a representation, an image of ourselves. Bérangère’s work is about houses turned into homes time after time. On wheels or legs, with niches to store memories or drawers to hide secrets, they are an endless source of inspiration and imagination is challenged. And to create a link between the artistic and functional, Bérangère uses photos of these houses to decorate her fine porcelain tableware collection. 88

Alison Gautrey This work is the result of a new technique which I have developed for spinning porcelain casting slips into various moulds producing a unique, translucent egg-shell bowl each time. It is inspired by exploring contemporary applications of industrial techniques. The essence of this work is to capture the feeling of movement within the simplicity of form. The recent series has been experimenting with combining Bone china and Porcelain together in the same piece, exploiting the inevitable distortions that occur. 89

STAND 61

07986 246760 www.charlottemarypack.co.uk IMAGE: Pink Galapagos land Iguana stained parian and porcelain, slip cast and hand building

Junction Workshop 1 Skipton Road Crosshills BD20 7SB

STAND 62

Lea Farm House Rye Foreign East Sussex TN31 7ST

07851 113151 www.junctionworkshop.co.uk IMAGE: Fosseveien birches and houses corrugated cylinder Eastburn quarry small jug Slab-built earthenware, painted, stencilled and inlaid slips, 1120ºC Cylinder h 18 cm, w 25 cm, d 20 cm Jug h 11cm, w 13 cm, d 7 cm

Charlotte Pack The Species Pots series is an ever evolving collection. In small scale, each animal is meticulously hand built and carved to fine detail by Charlotte to sit upon a porcelain vessel. On the underside of every piece is the species name and its ‘status’ in the wild – Critically Endangered, Endangered or Vulnerable. It is important to be able to identify each animal and provides an opportunity for you to explore more about the specific species and why it is under threat. Charlotte donates 15% of profits to support wildlife conservation efforts around the globe. 90

Anna Lambert CPA Anna Lambert makes hand-built earthenware ceramics using various techniques including slab-building, modelling and painted slips. Anna’s ideas reflect an interest in place, exploring narratives relating to land and water management in her locality and the regeneration of orchards. Inspired by new

nature writing, she engages with a common language beyond pastoral sentimentality, combining drawing with abstract qualities of pots, their spaces, edges and surfaces. Anna has been a full-time maker since 1980, exhibiting throughout the UK and Europe. 91

STAND 63

07807 733325

Unit D Cypress House 2 Coburg Road Wood Green London N22 6UJ

www.justineallison.com

07907 949043

IMAGE: Set of three small square vessels

www.kirstymacrae.co.uk

Slab built using porcelain Decorated with underglaze and ceramic pencil

STAND 64

Ty Cerrig Penrherber Newcastle Emlyn SA38 9RW

IMAGE: Abstract Earthenware hand built sculpture, painted with slips and glazes H 27 cm, W 27.5 cm, D 5 cm

H 6.5 cm

Justine Allisonâ&#x20AC;&#x201A; CPA I work primarily with hand built porcelain. My work addresses the boundaries between function and decoration. Form is paramount; function is a driving motivation, but key to my making are the aesthetics of a piece. My work is very much concerned with the simplicity and beauty of the clay and incorporating 92

Kirsty Macraeâ&#x20AC;&#x201A; pattern and texture as well as glaze to create subtle, unique variations. Thinness and movement are very important in each piece.

My ceramic sculptures are an exploration of gesture, form and colour. My ceramics are strongly influenced by my background as a painter. I create work that playfully imagines clay as the canvas, both in form and surface. I employ traditional pottery decorative techniques alongside mark-making usually associated with abstract expressionist painting to create lush, layered surfaces. 93

STAND 65

07974 358248 www.jamesevans.me IMAGE: Cortex Handbuilt using earthstone clay and Iron H 40 cm, W 50 cm, D 40 cm Photo by Valerie Bernardini

Studio 10 King Street Buildings King Street Enderby Leicestershire LE19 4NT

STAND 66

Flat 4 49 Fitzalan Street SE11 6QT

07889 032689 www.suepryke.com IMAGE: Table Landscape Slip cast, Coloured porcelain clay body, fired to 1240ºC with transparent glaze

James Evans

Sue Pryke

My current work reflects the balance of large heavy forms with contrasting entwined frameworks. Each surface is characteristically aged, opening up a dialogue of history or possibly neglect. Some allude to a possible function, but you’re only seeing a fragment as parts have possibly eroded or been lost.

My work is concerned with functionality and the exploration of tactile surfaces to create a table landscape. I use slip casting as a vehicle to make domestic pottery which is a nod to an industrial method of making, but use it in a craft setting to produce pared back contemporary ware. I’m inspired by the

everyday and the ordinary; tactility and utility, material qualities and the interaction we have with objects. Small details and preferences which reflect the intuitive decision making we all make on a daily basis when choosing what cup to take from the cupboard for tea. 95

STAND 67

Kapellenhof 1 Hilzingen 78247 Germany

+49 (0)159 08111657

+49 (0)7739206

www.barbarahast.de

www.uweloellmann.de

IMAGE: Fumarole

STAND 68

Dorfreihe 24 Neuendorf 25335 Germany

IMAGE: Vessel

Porcelain, by hand build

Wood fired stoneware natural ash deposit

H 40 cm

h 46 cm

Barbara Hast The fine porcelain art of Barbara Hast causes time to stand still and invites the spectator to marvel at the metamorphoses that gradually reveal themselves. The natural growth process of plants and fruit has inspired these quirky creations of ‘white gold’. Plainly and modestly, they refer to the 17th century’s love of nature and remind us of the exotic curiosities of baroque treasure chambers. Barbara Hast’s objects contain a whole variety of allusions. Their invisible roots and tentacles reach out into all directions of time and history, in order to reveal their fascinating presence in the here and now. 96

Uwe Loellmann Uwe Loellmann fires his Anagama-kiln for 7 days up to 1300°C. His vessels tell us something about our life and the powers of nature. In the present age, with its love of short-lived effects, it really requires courage to root one’s work in the ancient tradition of a craft whose basic material seems to be made for eternity. The extraordinarily expressive and symbolic qualities of clay are most strikingly evoked in his work. The integrity and strength in his ceramics are the result of a long sensitive work process during the past thirty years. 97

STAND 69

07923 246855 www.yutasegawa.com IMAGE: Miniature bowls Glazed porcelain

Culford Studio 8B Culford Mews London N1 4DX

STAND 70

Wimbledon Art Studios 10 Riverside Rd, London SW17 0BB

07460 853107 IMAGE: Factory Carnival_ Spring Up II (Top) Factory Carnival_ Spring Up (Bottom) Earthenware, decorating slip, underglaze pencil, enamel paint, lustre Press moulding H 34 cm, W 37 cm, D 23 cm (Top) H 46 cm, W 47 cm, D 26 cm (Bottom)

Yuta Segawaâ&#x20AC;&#x201A; Yuta Segawa is a Japanese ceramic artist specialising in producing miniature pottery. He learned advanced ceramic skills in Japan and China and developed them into the technique of creating miniature pots in London. All his miniature pots are thrown individually by hand and he uses more than 98

Yung Cheuk Chung a thousand of his own original glazes. Miniature pottery relates to the issue of the relationship between artistsâ&#x20AC;&#x2122; bodies and their works. It is a challenge to test the limits of what a human body can make on such a small scale.

Factory Carnival is a group of hand-painted works, which attempts to provide a unique character for each piece, by interpreting the shape, movement, and components of the machinery from industrial factory into an illustrative pattern to present the vivid side of the typical lifeless factory. 99

STAND 71

Unit 4, Studio 37 Thames Side Studios London SE18 5NR

+353 (0)861 599573

www.janecairns.co.uk

www.isobeleganceramics.com IMAGE: Ovalis Hand-built porcelain Firing Temperature 1260°C

STAND 72

3 Victoria Terrace Naas Co. Kildare W91 FCV5 Ireland

07811 260661 IMAGE: Found Forms – Float Form Hand-built and fired multiple times Diameter 19 cm

L 86 cm, W 45 cm

Isobel Egan While I have always been inspired by architecture and its multi-dimensional portrayal of form, the inspiration for my work is in fact multifaceted and includes architecture, space, memory and emotion. I work exclusively with porcelain as the intrinsic characteristics of the material, its translucence and delicate paper-like quality enable me to fully realise my concepts. My work represents a relationship with space and how it shapes us, both physically and emotionally. It also investigates the interrelationships between us and the buildings we inhabit. The structures I make connect these ideas and in doing so, they reflect on the human condition. 100

Jane Cairns CPA Jane Cairns works in response to her surroundings, the ordinary and every day of urban life, where she finds an accidental poetry that is often overlooked. Her aim is to translate some of what she sees and to allow others to share the quiet beauty she finds in these humble things. She takes an

experimental approach to ceramic processes and materials to create objects with surfaces that apparently carry the traces of time or reflect the colours and textures of neglect.

101

STAND 73

41 Burghill Road London SE26 4HJ

07754 947340 www.sophiemaccarthyceramics.co.uk IMAGE: Plate, Long pale leaves Slips, stencils Diameter 28 cm

07779 072413 www.annasilverton.com

STAND 74

The Chocolate Factory Farleigh Place N16 7SX

IMAGE: Two pink and honey vases Glazed porcelain with texture detail Tallest H 58 cm, W 16 cm Photo by Justin Webb

Sophie MacCarthy CPA All my ceramics are thrown and turned apart from the oval platters which are press moulded. I then paint coloured slips directly on to the dry clay surface and they are absorbed straight away allowing for spontaneity and greater tonal depth. I use a combination of stencils, wax resist, sgraffito, sponging and paper cut-outs to create distinctive imagery, predominantly drawn from the natural world and the urban environment. Multi-coloured leaves that scatter and flow, rhythm and movement are consistent themes in my work, along with a bold and joyous approach to colour. 102

Anna Silverton CPA Anna Silverton’s porcelain vases and bowls are finely wheel-thrown one-off pieces. Appealingly tactile surfaces are punctuated by subtle differences in texture. Glazes soften or highlight as they break over edges, connecting form and surface harmoniously. 103

STAND 75

07876 025243 www.rhianmalin.co.uk IMAGE: Mandala collection Thrown porcelain bottles with hand painted cobalt blue underglaze pattern. Every piece within the Mandala collection has it’s own one off pattern. H 16 cm, W 7 cm H 30 cm, W 11 cm

Rhian Malin CPA Inspired by her grandmother’s Willow Pattern collection, Rhian Malin continues the long historic tradition of hand-painting porcelain with cobalt blue decoration. Her elegant wheel-thrown porcelain vessels are the chosen surface, created to stretch this tradition into the 21st Century. The beauty of imperfection is explored through applying geometric patterns to deliberately distorted forms, challenging the inherent perfectionist Rhian is at heart. Taking a mathematical approach to applying each design, patterns are either projected onto vessels to accentuate their tactile, dimpled contours or divided up into eighths vertically to highlight their tapering forms. 104

Middle Cottage Mid Anguston Peterculter Aberdeen AB14 0PP

STAND 76

3D Grove Business Park Atherstone on Stour Warwickshire CV37 8DX

07769 698150 www.julietmacleod.com IMAGE: Black beaker and bowl Wheel thrown black porcelain, with slip decoration using found wool, metal and wire Polished exterior, with clear liner glaze h 9 cm, w 8 cm h 12 cm, w 20 cm approx.

Juliet Macleod Juliet Macleod makes contemporary wheelthrown porcelain pottery for functional and decorative use. More than twenty years working as a graphic designer generated a fascination for mark-making. She uses gathered shoreline ephemera to make tools for painting, printing and sgraffito. These and

the themes of reflection, floating and surface are used to impart an evocative exploration of the Scottish coast.

105

STAND 77

1 Foxdown Close Canterbury Kent CT2 7RR

0207 7012940

07883 860197

www.carinaciscato.co.uk

www.MidoriTakaki.co.uk

IMAGE: Dark group of constructed pots Glazed porcelain

STAND 78

Unit 7c Vanguard Vourt 36 to 38 Peckham Road London SE5 8QT

IMAGE: Red riding hood Hand-built stoneware H 24.4 cm, W 11 cm, D 10 cm

H 23 cm Photo by Michael Harvey

Midori Takaki CPA Carina Ciscato CPA Space, volume and architecture. It’s partly sensory and partly an ideal aesthetic. It’s relative, irregular and fragile. Tearing, cutting, folding, stretching, assembling, and pooling the qualities of the material – porcelain because of its strength and fragility – it is initially playing and exploring forms. I am 106

looking for unconventional shapes, altering the usual proportions and sizes to create pots that keep questioning space and volume, function and purpose, balance and fragility in search of its own aesthetic. Allowing new meanings, new observations, and new ways of seeing and perceiving the objects.

My life in Canterbury is simple. My main event of the day, rather than studio work, is walking. I see more trees than humans. I also talk to more trees than humans. That’s why much of my work is associated with trees and forests. Trees are the last giants remaining on the earth. They sustain many lives on them. They make oxygen for us. There are so many reasons to celebrate their lives and the lives on them. Ceramic sculpture is one way for me to express my admiration for them. 107

STAND 79

1 Claremont Bank Edinburgh EH7 4DR 07722 479238 www.larascobie-ceramics.com

shaping

the future

IMAGE: Squared Vessel Slip cast and altered form in Parian clay with hand drawn line work and sgraffito pattern H 30 cm, W 18 cm, D 18 cm

2 n d m ay

22 n d m ay

c h lo é ro s e t ta b e l l

Lara Scobie CPA The theme of balance is a constant, significantly underlining my current work in which ideas of dynamic interplay between form and surface development. By integrating drawing, surface mark-making and volume I play with the balance of space and pattern alongside hue and texture on both the decorated and void surface areas. For me it is the balance between composition and form, absence and presence that offers some of the most exciting opportunities for expressing my creative voice. 108

hojung kim a l i c e wa lto n

24 fore street, st ives, tr26 1he

www.newcraftsmanstives.com

photography by sylvain deleu

STAND 80

FÃ¤rbergasse 2 Dornbirn 6850 Austria +43 (0)650 7031958 www.thomasbohle.com IMAGE: Double-walled Bowl Purple Glaze Stoneware H 9.5 cm, D 12.5 cm

Thomas Bohle My work is not just to be but to be lived with. By being touched and used in daily life, they can explain themselves much better than any statement.

REG CHARITY NO 1086355

WWW.LONDONPOTTERS.COM

111

STAND 81

07790 100183 www.peterwills.co.uk IMAGE: Group of small finely thrown porcelain bowls Impressed and incised patterns under a variety of glazes

37 Chailey Avenue Rottingdean East Sussex BN2 7GH

STAND 82

44 Newcastle Hill Bridgend CF31 4EY

07778 161133 www.carolyngenders.co.uk IMAGE: Snapdragon Sunshine I, II, III Hand-built white earthenware vitreous slip surface H 26 cm, W 37 cm, D 28 cm H 17 cm, W 22 cm, D 26 cm H 15 cm, W 18 cm, D 18 cm

Peter Wills CPA Currently I’m making a range of work using a variety of clay bodies and decorative techniques. These range from coarse bodied agate-ware bowls containing blends of local and commercial clays, through coarse river grogged porcelain and onto fine work using pure porcelain. As financial pressures to 112

Carolyn Genders CPA support a family lessen so the freedom to experiment increases. Balance of form both physically and visually remain an all-important constant.

An established ceramic artist and printmaker, Carolyn Genders explores the relationship of form to line, brushstroke and colour through tactile making, evident in her works in clay and on paper. Both two and three dimensional pieces reveal an internal and external conversation between colour and pattern, form and shape. 113

STAND 83

Cardiff Wales 07745 309393 www.tonidejesus.com

07767 141494

IMAGE: Terracotta Ginger Jar

www.triciathomceramics.com

STAND 84

12 Seventh Street Newtongrange Midlothian EH22 4JT

Coiled, terracotta, tin glaze

IMAGE: Tall and Small jugs

H 36 cm, W 18 cm, D 18 cm

Wheel thrown porcelain, celadon glaze H 32 cm and H 15 cm

Tricia Thom CPA My work takes references from my love of a Japanese aesthetic. Teapots and moon jars speak to me as symbols of community and ritual. I work predominantly in porcelain on the wheel. Some surfaces are punctuated rhythmically inside and out, expressing the fine translucency of the material; others are treated with bold, intuitive, calligraphic brush strokes and stripes, which contrast with the conformity of form. The process of throwing porcelain on the wheel, and the physical action of applying decoration on to the surfaces are the intimate, sensory experiences that inform what I make. 114

Toni De Jesus My ethos is centred round the idea of ceramics and its strong association with craft – as a material and its context within the fine art spectrum. I’m interested in the connotations porcelain and terracotta have inherited, their history; symbols of trade, status, function, hierarchy. All factors which compare with the constant debate regarding crafts and its position within today’s society. Questions raised by this discourse resonate through my practice. A fusion of coil building and levels of flux cause each form to oscillate, as if in response to attempts at fixed definition. 115

STAND 85

6 Market Street Lewes East Sussex BN7 2NB

07506 963052

07841 574699

www.sunakimceramics.com

www.alicemara.com

IMAGE: (Right to left) Inconspicuous beauty 16 Parian casting slip H 25 cm, W 25 cm, D 8 cm

STAND 86

Apartment 45 24 Albert Embankment SE1 7GJ

IMAGE: eastbourne dreams Digitally printed – slab built, some press moulding White stoneware with porcelain slip. clear crackle glaze H 35 cm, W 30 cm

Inconspicuous beauty 9 Parian casting slip H 14 cm, W 14 cm, D 6 cm

Alice Mara

Sun-A Kim Sun-A Kim sees beauty in the smallest details embedded in the surrounding world. She seeks the most exquisite patterns and textures found in inconspicuous things that encircle us daily, which she transforms into a unique body of work. Sun-A wishes to expose elements of things that are hidden or from 116

which people are appalled and bring to light their charm. In her current body of work, she magnifies the intricate and delicate characteristics of insects and presents an elegant perspective on that which may be regarded as revolting.

I specialise in combining print and ceramics to create works that reflect and catalogue our environment and the people of our day. I create bespoke commissions of private homes and make work for galleries and shows around the world. Most notably was a show Mara and Mara, opened in 2010 by Grayson Perry that featured a row of 22 ceramic houses and large urns depicting scenes from East London. I was awarded a prize from The Royal Scottish Academy Open and I have just sold out of an edition piece shown at The Royal Academy of Art Summer Exhibition, London. 117

STAND 87

22 Mona Road West Bridgford Nottingham NG2 5BQ 07557 050410 www.bronwengrieves.com IMAGE: BG169 Hand-built, coiled textured black stoneware, white slip H 27 cm, W 9 cm

Bronwen Grievesâ&#x20AC;&#x201A;â&#x20AC;&#x201A; The work is hand built from stoneware clays. Flat coils of clay are incised with either vertical or horizontal lines to provide texture. Decoration is limited to slips which are partially rubbed away. The work strives to balance structure with fluidity, using organic and inorganic forms as a reference point. Largely self-taught over the last 30 years, all the work is built and fired in her garden studio in Nottingham. 118

STAND 88

5F Thane Works N7 7NU London 07778 643114 www.arjanvandal.com IMAGE: Tapered vase (blue) Stem vase (yellow) Thrown porcelain, stained and polished Blue H 22 cm Yellow H 14 cm

Arjan Van Dal I am fascinated by the interaction of colour and form. White porcelain is my medium, which is coloured with pigments or stains. My background as an engineer and ethicist echoes in my work, which is clear and balanced. I throw on the potter’s wheel pieces which aspire to look industrially produced.

For example, by mimicking the aesthetic of 3D printed ceramics, I deliberately reverse the process and search for the added value of a skills based approach. Subtle details reveal the handmade nature of the work, while I aim for a crossover between design and craft. 121

STAND 89

+49 (0)176 48250748 www.keramikberlin.eu IMAGE: Ceramic Stag beetle decorated with cobalt silkscreen tissue paper ceramic decal, mounted on a neutral white frame Clay, rust free wire, engobe, transparent glaze fired at 1080°C

Woodside, Lawrenny Road Cresselly Pembrokeshire SA68 0SY

STAND 90

Pfarrstr 134 Berlin 10317 Germany

07807 571416 www.sallybertramceramics.com IMAGE: Trio of cut and altered vessels Slab built using grogged porcelain clay and coloured clay Unglazed exterior with transparent glaze on the inside H 22 cm, W 6 cm, D 6 cm

Ross Campbell I make ceramic insects combining rust free wire and clay. Each piece is the assemblage of many small bug parts made from clay, pinned together with small pins of wire that become one finished piece after being fired in a kiln at 1080°C. My work is slightly larger than scale but small enough to give the beholder the idea that they might be real, but very big for an insect. My work is affordable and priced for a well-to-do general public with little or no focus at all for galleries or resale shops. 122

Sally Bertram My ceramics are inspired by a passion for the material. All my vessels are hand-built using soft slabs of clay. I like to use natural colours and textures to emphasise the forms of the vessels. I make the different colours for my pieces by blending together different clays and mixing them with natural colouring

oxides. I am always looking to create a sense of movement and physicality in my pieces and I do this by dropping and manipulating the vessels. This action allows for a unique form with fluid contours and shadows.

123

STAND 91

24 Tudor Lane Riverside Cardiff CF11 6AZ 07737 895637

07769 945487 www.jameshakeceramics.co.uk

STAND 92

Plough Cottage Over Kellet Carnforth Lancashire LA6 1DA

www.jineuikim.co.uk IMAGE: OPject – Spherical forms

IMAGE: Large vase

Wheel-thrown painted 18 tones of engobe

Thrown and altered, fired on its side Nuka and Tenmoku decoration with circle motif Gas fired Stoneware

H 20 cm, D 14 cm

H 50 cm

James Hake CPA I make wheel-thrown stoneware ceramics decorated with oriental glazes. My work ranges from huge platters and bottles to delicate bowls and tiny lidded jars. Working at the wheel I produce work in a series, making families of similar forms each with their own subtle variations. Many of my glazes are made using local materials, gathered from quarries and clay seams in the countryside around my studio. Glazes are applied spontaneously by dipping, pouring and brushing in different combinations. During the firing the glazes fuse together producing fluid dynamic surfaces. 124

Jin Eui Kim CPA My work explores how the perception of threedimensional ceramic forms can be manipulated by the applications of tonal bands on their surfaces. Illusory spatial phenomena can appear and thus significantly influence the actual three-dimensional forms. I work in between the concepts of illusion and reality and my work attracts viewers by visual phenomena as well as physical confusions appearing on the surface. Restricting or removing data (information) on the surface increases the chance of the viewer’s perception shifting between illusion and reality. Looking with half-closed eyes, in the darker light and with distance, brings the illusion to life for me. 125

STAND 93

Ridgway House Leek Road Longsdon ST9 9QF 07990 930598 www.tonylaverick.co.uk IMAGE: Untitled Thrown and turned porcelain with slips and glazes applied in separate and multiple firings Diameter 21 cm, H 21 cm

Tony Laverick CPA I use a visual “language” of shape, colour, form and line to create compositions free of any specific visual references. It is unique to me, like my handwriting, but it also evolves with life experiences. I work like a painter with the pot as my canvas. And, like a painter, I don’t limit myself to specific techniques. I use whatever technique I feel is needed to create the effect I want. I enjoy playing with and re-arranging colours, lines and shapes to create images. I want my work to be surprising and provocative. 126

Studio E2R Cockpit Arts Cockpit Yard Northington Street London WC1N 2NP

www.harrietcoleridge.co.uk

07949 114510

STAND 94

Harriet Coleridge

vanessahogge.com IMAGE: rosie wall piece Unglazed porcelain Diameter 20 cm

Vanessa Hogge

Oxfordshire Artweeks 2nd - 10th May 2020

At once organic and ornate, spontaneous and stylised, Vanessa Hogge’s decorative wallflowers bring a unique textural and visual dimension to any wall or table. Working predominantly in porcelain, Vanessa crafts her one-off flower heads and vessels in her studio in Cockpit Arts Holborn. Grounded by years of expertise as a ceramicist, she takes an instinctive, visceral approach to each piece, painstakingly sculpting every petal and anther by hand so that no two flowers are identical. The efflorescent flowers are created in porcelain and black clay, and are fired to high temperatures to create brittle, ossified shades of white and lava-like black. 129

STAND 95

07434 547894 www.jeremynichols.co.uk IMAGE: Open Handle Teapot Saltglazed oxidised stoneware, thrown body and lid, slipcast handle and spout H 20 cm, W 23 cm, D 12 cm

Wimbledon Art Studios, Studio 284 10 Riverside Yard London SW17 0BB

STAND 96

32A Sellons Avenue London NW10 4HH

07311 490963 www.miyukurihara.com IMAGE: Drawing moon jars Hand painted, hand-slipcased porcelain, transparent glazed, painted genuine gold on the rim H 8.5 cm

Jeremy Nicholsâ&#x20AC;&#x201A; CPA I am interested in the relationship between function and form, and look for ways of extending the latter whilst compromising as little as possible on the former. As a one-time graduate in Aeronautical Engineering I take ideas from the structures of flight and the precision of engineered objects in my search 130

Miyu Kurihara for forms that combine visual impact with a sense of movement and balance.

Miyu Kurihara is a Japanese artist who makes hand-painted ceramics. She draws upon her heritage when creating her pieces, inspired by both traditional Asian textile patterns and ceramics. All pieces are made by hand and individually drawn with intricate detail. Having learned brush techniques and textile

design in Japan and London, she incorporated these skills into her work and uses traditional blue and white porcelain craftsmanship that originate in China and Japan.

131

STAND 97

07769 903912 www.emmalacey.com IMAGE: Blue scale mugs with cobalt gradation Satin matt glaze outside and glossy glazes inside

Ludwigstrasse 1 Bad Ems 56130 Germany

STAND 98

56 Barrington Road London N8 8QS

+49 (0)152 0281 6212 www.kangkiho.com IMAGE: no title Coil-building w 8–11 cm, H 28–34 cm

H 9 cm, W 9 cm

Emma Lacey Emma Lacey’s tactile ceramics bridge the fields of design and craft. The maker and the user of the work are both strongly intertwined in the intention and story of each piece. Driven by a curiosity about our emotional attachments to everyday objects and a focus on how the details can draw us in, Emma’s 132

Kiho Kang work invites tactile interactions and exploration. The thrown and manipulated forms, generous volumes and handles offer comfort in everyday use whilst describing the qualities of soft clay, the gestures of the making process and a celebration of the infinite possibilities of colour in glaze.

The beauty of slowness; the beauty of imperfection; the beauty of naturalness. These three mottos became my guidelines and working philosophy to this day. I am not a robot or machine which makes ceramics cut and dried. I make ceramics with my ten fingers. The results may be imperfect and natural; they are beautiful and have humanity. 133

STAND 99

Rock Villa Bonchurch Village Road PO38 1RG 07852 120904

07986 250397 www.matthornepottery.co.uk IMAGE: Tall yellow and blue vase

www.janecoxceramics.com

STAND 100

Unit 18 Riverside Craft Centre West Hythe Hythe CT21 4NB

IMAGE: Loire & Aquitaine decorated vases Thrown Earthenware with Slip Decoration

Crystalline

Medium Vase H 35 cm, w 18 cm Small Vase h 25 cm, w 14 cm

H 52 cm

Jane Cox CPA Matt Horne CPA Matt enjoys pushing the boundaries of form with contemporary, elegant and sometimes challenging shapes, which are complemented by the stunning colour combinations in his glazes. All of his work is hand thrown in porcelain on the potter’s wheel and finished with crystalline glaze. Crystalline is a complex glazing process in which Zinc Silicate crystals form in the glaze during the firing, making every piece completely unique. 136

Jane Cox trained at Camberwell and at the Royal College, and after 20 years in Brockley, London, now works on the Isle of Wight in an area of outstanding beauty. Jane’s ceramics are distinctive in their use of vibrant, translucent glazes combined with slip decoration and recently she has been developing a range of speckled surfaces evocative of the island landscape and textures of the shoreline. The translucency and movement of water and the reflective play of light on its surface is a constant source of inspiration which Jane tries to explore through her creative use of ceramic earthenware glaze. 137

STAND 101

07817 396016 www.tinavlassopulos.com IMAGE: Rochelle Burnished stoneware

Maze Hill Pottery The Old Ticket Office Woodlands Park Road Greenwich London SE10 9XE

STAND 102

29 Canfield Gardens London NW6 3JP

0208 2930048 www.lisahammond-pottery.co.uk

H 42.5 cm, W 38 cm

IMAGE: Bottle Red stoneware paddled with clay crackle slip with Horse Eye decoration H 17 cm, w 16 cm

Lisa Hammond MBE CPA Tina Vlassopulos CPA ‘Conversations with Friends’ is a project consisting of abstract portraits of Vlassopulos’s friends, representing each one’s character, disposition and psyche in a subjective and symbolic way. The pieces are made in defiance of the cacophony of the digital age, challenging the prevalence 138

of one-way communication and as a celebration of friendship and the spirit of the individual. The work offers thoughts on friendship, dialogue and the importance of conversation.

I have been a Soda Shino glaze potter and lecturer for 40 years. Producing high temperature soda glaze functional ware, in the broadest sense, raw glazing using slip and a pallet of firing schedules gives the work its rich colour and texture. In recent years I have developed a range of work ‘Soda Shino’ inspired by Mino pots of Japan. I use Shino glazes fired alongside the slipware pots in the soda kiln. 139

STAND 103

Middle Rigg Wearhead DL13 1HS 07817 568147 www.eddiecurtis.com IMAGE: Vessel Made utilising kurinuki technique Stoneware with celadon glaze and copper oxide highlights H 28 cm, L 33 cm, D 14 cm

Eddie Curtis With the careful juxtaposition of texture, glaze and form, my work seeks to question the notion of what is vessel and what is sculpture. I introduce tiny lids to close small openings to initiate debate. They resemble the very earth from which my materials are dug. 140

IMAGE: Phrenological Head C19th, C20th, C21st earthenware and porcelain tableware on sustainable plywood

STAND 104

Instagram @cleomussimosaics www.mussimosaics.co.uk

H 38 cm, w 30 cm, D 3 cm

Online Pottery Supplies Cleo Mussi

www.hot-clay.co.uk 01934863040

Cleo Mussi’s life-size mosaics immerse you in an evolutionary and historical timeline. They explore how the British ceramic landscape has changed and evolved. Mussi’s current work explores plants, weeds and seeds used for culinary, medicinal purposes introduced through human migration since pre-history, often tied up with traditional folklore, fairy tales, superstition and agricultural toil. These plants are now so familiar they are incorporated into our rich and diverse cultural history. Mussi’s ceramic installations are created from reclaimed tableware; the inherent qualities forms, patterns (often floral) and glazes gleaned from the last two hundred years of British Ceramic Industry. 143

STAND 105

G15 Chocolate Factory Farleigh Place London N16 7SX 07734 592791

+49 (0)7552 408980

www.ikuko.space

www.Joachim-Lambrecht.de IMAGE: Container Raku firing 1050°C H 33 cm, w 30 cm, D 9 cm

STAND 106

Schlosshof 1 Herdwangen-Schoenach OT Grosschoenach D-88634 Germany

IMAGE: Spiky Twins Slip-casting porcelain body with hand decorations and gold enamel Lucie Rie base glaze H 8.5 cm, W 33 cm, D 22 cm

Ikuko Iwamoto CPA

Joachim Lambrecht In my work I focus on clear, strong shapes that have the aura of sculptures as well as vessels. Raku firing gives my pieces an unconventional surface and helps increasing their liveliness. 144

Ikuko Iwamoto is best known for her sculptural, often eccentric, porcelain table top pieces. She intends to bring extraordinary vibes from a microscopic world into an ordinary life. She has been creating framed wall piece sculptures since 2012, and since 2018 she has added a few more new projects. ‘IKUKO 100’ is the newest and it is basically about creating 100 shapes of slip casted vases over a period of 4 years. The project also involves the filming of its creation, to be posted on YouTube regularly. 145

STAND 107

c/ Almanzora alta, 12, Granada 18009 Spain +34 635 631436 www.esperanzaromero.com IMAGE: Abundance Slip cast Stoneware Terra Sigillata and Sprayed lithium glaze 980ºC H 32 cm, w 34 cm, D 38 cm

Esperanza Romero I am presenting some large sculptural pieces, part of a series call “Vertebrados”. They are mostly hand-built, burnished, with terra sigillata and carbonisation. Other smaller pieces are part of a series called “Contained Spaces”, in which the empty space they inhabit is as essential to me as the form itself. It is a result of an evolution from a more figurative stage in my work towards simpler, purer forms trying to reach their essence, an investigation into the spatial equilibrium between different forms that when coming together complement each other and form a harmonious entity. 146

APPLY YOUR PASSION FOR POTTERY AND CERAMICS TO STUDYING CERAMIC CONSERVATION Graduate and Masters in Conservation Studies specialising in ceramics Funding available APPLY NOW FOR SEPTEMBER 2020 ENTRY

www.westdean.ac.uk

STAND 108

Sculpture Lounge Holmbridge Mill Bank Lane Holmbridge Holmfirth HD9 2NE 07877 681837 www.rebeccaappleby.co.uk IMAGE: Inner Order II Ceramic H 60 cm, W 60 cm, D 50 cm

Rebecca Applebyâ&#x20AC;&#x201A; CPA From highly sculptural ceramics to experimental painting, the work of artist Rebecca Appleby is a continual exploration of the contemporary urban landscape, examining the ever-present cohabitation and conflict between industry and nature. Through a series of techniques developed over a 20-year career, Rebeccaâ&#x20AC;&#x2122;s works are strongly defined by a series of marks and surface contusions that mimic both the manufactured process of industry and the seemingly sporadic, yet calculated occurrences found in nature. Her works explore and echo both the ephemeral and established solidity of her surroundings, offering the viewer thought-provoking pieces and an exemplary dialogue of colour, line and movement. 149

STAND 109

Sculpture Lounge Studios Holmbridge Mill Bank Lane HD9 2NE

07880 967343 www.jamesoghtibridgesculpture.co.uk

07950 529572 www.hesmondhalghsculpture.co.uk

IMAGE: Medium Jet Black Blade

STAND 110

Sculpture Lounge Studios Holmbridge Mill Bank Lane HD9 2NE

IMAGE: Lurcher

Slab Constructed Black Stoneware

Stoneware H 95 cm

H 50 cm

James Oughtibridgeâ&#x20AC;&#x201A; CPA James Oughtibridge creates bold and striking forms in black and white clay often on a dramatic scale. Inspiration comes from the stunning Yorkshire Pennine landscape where his studio is situated. The surrounding landscape is characterised by river valleys, hills, fells, mountains, high edges and valleys. The contour of this scenery is ever present and always inspiring. When mist and fog descend, it transforms the curves and valleys of the land into a monochromatic palette, where texture is prominent. These natural elements of texture, beauty and form are conveyed with each unique sculpture he creates. 150

Brendan Hesmondhalgh Brendan is a British contemporary figurative sculptor, best known for his unique handmade ceramic sculptures of animals. Using slabs of clay, he wraps, layers and controls the medium to create one-off pieces that capture elements of character, form and movement of each individual creature. Capturing the dynamic nature of his subject, and focusing upon structure, movement and character, Hesmondhalgh creates sculptural works that encapsulate and embody the essence and spirit in inimitable style. Directional and textural marks are included to enhance each form. Sculptures vary in stature with limited edition miniature collections produced through to those with monumental dimensions. 151

FLOORPLAN

A-Z Exhibitors 63 Justine Allison 108 Rebecca Appleby 3 Karin Bablok 45 Peter Beard 90 Sally Bertram 56 David Binns 80 Thomas Bohle 16 Dylan Bowen 47 Daniel Boyle 39 Anne Butler 72 Jane Cairns 89 Ross Campbell 36 Kyra Cane 13 Claudia Carpenito 70 Yung Cheuk Chung 77 Carina Ciscato 100 Jane Cox 103 Eddie Curtis 84 Toni De Jesus 34 Monika Debus 55 Lesley Doe 58 Jack Doherty 20 Chloe Dowds 71 Isobel Egan 15 Eiair 48 Kat Evans 65 James Evans 22 Lucas Ferreira

152

43 26 60 82 14 49 87 54 91 102 67 11 110 21 94 99 53 52 106 5 12 98 41 8 10 23 27 85

Adam Frew Georgie Gardiner Alison Gautrey Carolyn Genders Tanya Gomez Jemma Gowland Bronwen Grieves Rachel Grimshaw James Hake Lisa Hammond Barbara Hast Kathryn Hearn Brendan Hesmondhalgh Akiko Hirai Vanessa Hogge Matt Horne Verity Howard Miho Inagaki Ikuko Iwamoto Hyujin Jo Helen Johannessen Kiho Kang Chris Keenan Simon Kidd Joon Hee Kim HoJung Kim Sun Kim Sun-A Kim

92 96 97 62 105 93 33 35 68 9 73 46 76 64 51 75 28 86 7 24 104 95 59 109 61 17 4 38

Jin Eui Kim Miyu Kurihara Emma Lacey Anna Lambert Joachim Lambrecht Tony Laverick Jaejun Lee Wenqi Liu Uwe Loellmann Toni Losey Sophie MacCarthy Sally MacDonell Juliet Macleod Kirsty Macrae Ícaro Maiterena Rhian Malin Agalis Manessi Alice Mara David Millidge Sue Mundy Cleo Mussi Jeremy Nichols Bérangère Noyau James Oughtibridge Charlotte Pack Martin Pearce Henry Pim Mitch Pilkington

66 107 42 79 69 29 40 74 50 25 18 31 78 83 19 30 88 101 2 37 6 32 1 44 57 81

Sue Pryke Esperanza Romero Duncan Ross Lara Scobie Yuta Segawa Jill Shaddock Patricia Shone Anna Silverton In Ho Song Jenny Southam Barry Stedman Emily Stubbs Midori Takaki Tricia Thom Jessica Thorn Alison Tomlin Arjan Van Dal Tina Vlassopulos Andrew Walker Sasha Wardell Heidi Warr Grainne Watts Zoe Whiteside Christiane Wilhelm Deiniol Williams Peter Wills

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Lecture Theatre

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snacks only, you are welcome to bring your own food open from 12pm

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CERAMIC REVIEW

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Ceramic Art London 2020

The International Contemporary Ceramics Event provisional date

19–21 March Exhibition Catalogue

Central Saint Martins Kings Cross

Exhibitor call for entry From 1 September 2020

ceramicartlondon.com

Work by Anne Butler | Photograph by Bob Given