Collect 2022 14

from Emerging Potters magazine - April to June 2022

Ceramic Art London 21

Thrown Gallery –London

Fascinated by process, Thrown Gallery seeks out distinctive contemporary art in its many forms with a particular focus on clay. The gallery represents internationally acclaimed makers alongside emerging talent, providing a much-needed platform for makers finding their identity as artists.

The gallery was established in London in 2018 by Claire Pearce who has worked in galleries across the UK. Top image: 'No More Grey Skies. Installation by Helen Beard' Bottom: Vessels by Tom Kemp (front) with bottle and teapot sets by Karl Sebastian (back left), 'Woman' sculptures by Karina Smagulova (back middle) and Wheel-thrown wine 'glasses' by Matt Cronshaw (back right).

Ceramic Art London 2022

This April sees the keenly awaited return of Europe’s largest ceramics event, following an enforced two-year break.

Taking place over three days in the grand concourse of Central Saint Martins, which is close to King’s Cross station in London Ceramic Art London builds on three years of expansion that have seen audiences triple, with every event sold out. Featuring 92 leading makers from 11 different countries and with price points ranging between £20 – £5000, Ceramic Art London is one of the most important places to see and buy the best contemporary ceramics, from the functional and decorative to the abstract and architectural.

Returning to the show is Verity Howard and work inspired by the maps of her local area made by Alfred Watkins in Hereford. Another maker inspired by her environment is Kathryn Hearn who is presenting a new range of work. Charlotte Pack who is a previous student from Central Saint Martins produces her handmodeled animals which are in danger in the wild. This year’s cohort of exhibitors also includes 24 newcomers. Among them, James Evans, whose textural corrugated works are crusted with rusted iron, Thai artist Eiair (or Hassakorn Hirunsirichoke) with his intricate and alienesque miniature forms and, from Canada, Toni Losey whose sculptural works draw on the natural world and evoke imaginings of new-fangled marine life.

Other notable first-timers include Emma Lacey whose sublimely simple but tactile table wares recently made an appearance on The Great British Bake-Off, and Andrew Walker whose brutalism-inspired graphic vessels resemble stoneware paper lanterns.

Returning makers include Tricia Thom, with her Japaneseinspired porcelain works, renowned maker Sue Pryke, who, as well as being a major designer for IKEA, is a judge for The Great Pottery Throw Down and Patricia Shone, whose natural textures reflect the formation and erosion in the geology of the Isle of Skye where she lives and works.

Verity Howard and one makers journey to CAL 2022

I am very pleased to be exhibiting at Ceramic Art London for the second time in April 2022. The standard and breadth of work represented at this show is incredible, so it is an honour to take part.

Covid has had a tremendous impact on my practice with nearly all of my planned exhibitions in 2020-2021 being postponed or cancelled. The first lockdown in March 2020 was really hard, however, it spurred me on to redesign my website and create an online shop. I feel that many makers found themselves in a similar situation and for me, Covid has meant I have improved and adapted the way I present and sell my work online.

With physical exhibitions being scarce, I took the time to apply for international ceramics competitions in order to build on the presence of my work abroad. I was successful in being selected for Ceramic Art Andenne, Belgium and will be exhibiting in their ‘International Exhibition of Contemporary Ceramics’ from 14th May- 12th June 2022.

Also key to my work is running ceramics workshops in the community and in educational settings. A lot of this work ceased as lockdowns meant it was not possible to go into these venues. I therefore took on a new role, from June 2020March 2021, as Project Manager of Herefordshire Headway’s new online service. Herefordshire Headway is a charity that supports and rehabilitates adults with acquired brain injuries. I have worked at Headway as the Pottery Tutor since 2017. This new service enabled Headway clients to access online sessions such as art, exercise and music therapy from their own homes while the coronavirus pandemic prevented face to face contact. I learnt a lot from this rewarding role and realised how many transferable skills I had gained from years of running an art practice. Over the past two years I have created a body of work titled, ‘Sacrificial Stone Series 2’, which centres on my research into Alfred Watkins, a Herefordian naturalist. The title ‘Sacrificial Stone’ came from one of Watkins’ maps. I was intrigued by this atmospheric, mysterious place name, which to me evokes a sense of the surreal, stone like, obscured and encaged. I have since been using clay to explore the images and feelings that I associate with these words.

The surfaces on my works have been achieved by monoprinting using coloured slips. The colour and placement of this surface decoration takes inspiration from the colouration of rocks, as well as lichen and mosses growing on them. I evoke a feeling of my forms being obscured and encaged by layering up monoprints using manmade meshes. I am interested in the juxtaposition between the natural form of the pieces and this manmade surface decoration. This adds to the surreal atmosphere surrounding the work and results in the pieces having a sense of belonging but also being placeless.

I cut up slabs of clay and collage them together to create stone like forms. I accentuate the joins between the slabs to reference the natural facets and angles found on rocks. I am interested in the viewer bringing their own personal narrative to the work, much like how I started this series, bringing my own thoughts and ideas to the title ‘Sacrificial Stone’.

I am looking forward to showcasing this new body of work to collectors, galleries and ceramics enthusiasts visiting Ceramic Art London from across the UK and abroad. I cannot wait to talk to visitors face to face and exhibit in person once again, in what promises to be a fantastic return of Ceramic Art London, 2022.