Charlotte Fraser Ceramics & Glass Prize

Charlotte Fraser Ceramics & Glass Prize

Shortlisted Works 2023

Exhibition Thursday 20th - Saturday 29th July

Glandford Studios

Manor Farm Barns

Glandford, Nr Holt, NR25 7JP

Rose Brettingham

Cat Fish

Ceramic

14 x 14cm

Salt-fired ceramic sculpture of a fish flying over a cat.

£200

Emma Buckmaster

Vessel

Porcelain

35 x 12cm

This tall porcelain vessel is decorated with an ash glaze made from the wood from a walnut tree. The glaze has been poured, to create a feeling of movement and life. £180

Caroline Chouler-Tissier

Fragile Presence series

Extruded and slip cast porcelain and volcanic clay

22 x 20cm

Developing concept-led experimental and sculptural processes during RCA 20-22, involved research of anthropological archive material and draws deeply on personal experiences of processing trauma and a growing understanding of grief.

Fragile Presence is an experimental approach to the extrusion process and slip cast method to explore the breadth of clay as a material. Carefully selected clays with contrasting properties are pressed through disrupting hand-cut extrusion plates and combined with a slip casting process in an exploration of the precise and the disruptive. Surface treatment of this work embraces areas of semi-reflective, metallic glazes as a metaphor for resilience and self-reflection

£1,475

Caroline Chouler-Tissier

Renewal - The Ground Beneath Your Feet series

Extruded porcelain, volcanic and stoneware clay 25 x 12cm

My sculptural practice engages traditional clay techniques with innovative approaches that exploit the dynamic, distorting properties in the making, drying, and firing of carefully selected clays with contrasting properties.

The piece, Renewal, is extruded through a raw and abrasive hand-cut extrusion plate. The passage of time is an important recorded element in a piece that draws deeply on the restrictive experience of inner tension and outwardly expressed personal experiences of processing trauma and growing understanding of grief.

The surface treatment of this work embraces areas of semi-reflective, metallic glazes as a metaphor for resilience and self-reflection.

£1,700

Caroline Chouler-Tissier

New Skin

Blown, hand-cut, fire-polished clear glass and stoneware clays

25 x 24cm

My fire-polished glass work has its origins in pandemic experimental work at the beginning of MA Ceramics and Glass RCA 2020, working with heated and distorted waxed recycled plastics. The blown and hand cut glass that followed lockdown explores the disruption and restrictions of the period and New Skin explores these difficult emotional experiences.

Embracing vulnerability within the process of firepolishing and distorting cut glass, I draw on the life-changing experience of loss and the rawness of grief.

My use of extruded clay to hold the glass speaks of a connection with landscape as a supportive presence in life.

£1,250

Emily Crookshank

Dragon Heart

Fused ceramic sculpture with stoneware glaze

35 x 26 x 27cm

When the music played the mountain changed the sound crept under its skin made the mountain strong became the mountain song.

Ant & Di Edmonds

Second Vessel

27.5 H cm Coiled vessel stoneware and porcelain. Black #geometric design.

£1,000

Moira Goodall

Sandstorm

Low fired stoneware

26 x 29cm

Handbuilt vessel inspired by the Essex and Suffolk saltings coastline. The vessel is handbuilt using flattened coils; soft coloured slips are applied and after an initial firing the pot received a secondary firing in sawdust using masking techniques to influence the way in which the fire interacts with the vessel.

Moira Goodall

Wrack

Low fired stoneware

32 x 31cm

Handbuilt vessel inspired by the Essex and Suffolk saltings coastline. The vessel is handbuilt using flattened coils; soft coloured slips are applied and after an initial firing the pot received a secondary firing in sawdust using masking techniques to influence the way in which the fire interacts with the vessel. £400

Moira Goodall

Nimbus

Low fired stoneware

30 x 28cm

Handbuilt vessel inspired by the Essex and Suffolk saltings coastline. The vessel is handbuilt using flattened coils; soft coloured slips are applied and after an initial firing the pot received a secondary firing in sawdust using masking techniques to influence the way in which the fire interacts with the vessel.

Extinct

Stoneware clay

37cm x 40cm max

Made from recycled clay from my wheel. I allow the clay more freedom to create its shape.

£185

Spadge Hopkins

My Grandfather’s Lawnmower

20 x 45 x 15cm

This is from a collection of work to appear in a forthcoming book where the artist reflects on his past to try and make sense of the present and future. Fond memories of the smells of warm oil, petrol and freshly mown grass that remind him of the safety and love of his grandparent’s house in the 1970s are evoked in this representation of the patinated Atco; which has been made in clay and glazed, assembled with steel fittings and featuring painted copper handles and other components.

Hand knitted wire encased in blown glass

13L x 15W x 13H cm

My Del Mar series are knitted copper wire encased in blown glass, I incorporate muted colours inspired by seaweed. Once the pieces are cold I cut through them with a diamond saw and then painstakingly polish the surface up to a high shine. The polished rims create an optical view through the pieces. When light projects through these pieces it creates wave like shadows.

Tipping Point

Cast glass

25 x 30x 9cm

Nature, has reached a tipping point. The work represents the precarious situation we are currently facing; the form could tip either way, but currently sits unbalanced. The piece has a very slight rocking movement to it, emphasizing the “tipping” point theme.

The smoother, yellow heavier side represents the man-made; it weighs the piece down. The black, bark-textured end hovers off the ground, as though it’s had its roots ripped from the earth. Yellow and black are also nature’s warning colours.

Cast bullseye glass. Polished and textured surfaces. A combination of large blown shards and casting glass used.

£850

Tracks in the Sand – Duet No.1 Fused glass, framed 27 x 56cm

The crab fishermen use their rusty old tractors to drag their boats up and down Cromer beach. Their tractor tyres create a myriad of shapes and designs in the sand which are then washed away by the tide. During the pandemic I walked the beaches and photographed these temporary indentations which somehow echoed the then transitory fragility of our lives.

I made a decal from my photograph fused onto one panel. I created a formalised pattern taken from the tyre tracks and fused coloured elements, frits and stingers together on the other panel to contrast randomness and order.

Accretions Porcelain

30 x 18 cm

My work is based around exploring ways to articulate notions emerging from my RCA dissertation and the recent death of my father. My reflections have centred on the themes of memory, grief, and exploring Indo-Caribbean diasporic identity, which, particularly since the Windrush era, has morphed into a hybrid, crafted by different cultures.

Evolution Porcelain

16 x 9 cm

I’m seeking to create objects that look like they have been found rather than created and looking at disrupting familiar notions of porcelain, pushing the material to its limits, to the point of collapse, distorting it, yet holding onto something familiar. The distortions, the broken edges and the fractured glazes suggest a narrative. What connects the pieces are the qualities of fragility.

Weave

Glazed ceramic

30 x 30 x 10cm

Wall piece. Stoneware with earthenware glazes.

£540

Karin Schösser

Sunrise and Sunset in the Mountains

Glazed ceramic

14 x 17.5 x 4 cm each

Diptych – wall piece White earthenware clay with engobes.

£340

Becoming V, 2022

Handbuilt stoneware ceramic sculpture

40 x 40 x 30cm

Becoming is a series of intuitive ceramic sculptures inspired by research into European native oysters, invasive slipper limpets and the role of touch in their transition from male to female.

Wood-Salt Fired Lidded Jar Clay

15 x 12 cm

My pottery is inspired and informed by the forms, colours and textures of the Salthouse Marsh where I live.

The jar was hand thrown and placed on a high shelf in the kiln, subject to direct flame, which enhances the texture and colour created by the salt and fly ash from the wood fuel.

There is a pale slip on the lid, and a shino glaze on the inside.

Ripening

Raku fired ceramic

11cm x 13cm x 11cm

Echoes of fertility, potential and the essence of being female.

£280

Katrina Wheeler

There Is A Crack In Everything, It’s How the Light Gets In

Old Smoked Raku

33cm tall x 20cm wide

Hand Thrown, Oak Smoked, Raku Lidded Vessel £300

Katrina Wheeler

Stoneware Lidded Jar

Wheel Thrown, High Fired Stoneware

31cm tall x 19cm wide

Wheel Thrown and Carved, High Fired in Dolomite Glaze

£250

In the Name of Sacrifice

Reduction fired in 1280 11 x 15 x 11cm

This piece is made by assembling small units of raw clay which the artist believes is a traditional technique that requires effort and skill. The units manifest human desires and emotions and the base of the sculptures are abstract forms that symbolise the allegorical figures in the fictional world that the artist created in her written stories.