Material Earth: Myth, Material & Metamorphosis

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MATERIAL : EAR TH

MYTH MATERIAL METAMORPHOSIS Saturday 10 February – Monday 2 April 2018

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MYTH

M AT E R I A L M E TA M O R P H O S I S

Myths can’t be translated as they did in their ancient soil.

Christie Brown

We can only find our own meaning in our own time.

(5 Figures) 2003-5

Margaret Atwood

Entre Chien et Loup 129 x 25 x 25cm Each figure ceramic and mixed media

At a time when more than 70 percent of the population in Europe are living in cities and often isolated from nature, artists are rediscovering the deep roots that unite us all in the mythological tales of beasts and spirits lurking in the woods or at the bottom of the sea, on top of mountains or in eaves of a roof. Nowhere is this renaissance more vigorous than in the field of ceramics where the actual material of which they are shaped is dug from the earth; touchstones of reality in a world that is moving at lightning speed through the digital age. From the forests of Norway to the sunbleached olive groves of the Mediterranean, mythology exists to explain the origins and passions of Man, his frailties and strengths. Stories by Hans Christian Andersen and the Brothers Grimm about trolls and werewolves, or by Homer about sirens and gorgons, put to harness the untold fear that lies at the heart of existence and transformed it into being comprehensible. In more recent times, Scandi noir films and books exploring the more sinister aspects of human behaviour have done much the same thing, exploring the uhygge and the unheimlich; the fear of what lies beyond our comprehension. So it is that the notion of the uncanny pervades this exhibition, in the hybrid beasts created by many of the artists like Sophie Woodrow, Christie Brown or Malene Hartmann Rasmussen whose hares, Grayson Perry ’England Goodbye’ Sex Cup, 1987 10 x 19cm

owls and wolves reflect the folkloric morphing of humans and animals; their quasi familiarity bridging the divide into the unknown - they are familiar but at the same time deeply strange. These figures seem timeless and iconic, like antiquities from ancient Greece but also further afield from Egypt and even ancient Sumeria.

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MYTH

M AT E R I A L M E TA M O R P H O S I S

Rasmussen was born in Denmark and brought up reading the Troldeskoven (In the Troll Woods), a book illustrated by the crepuscular drawings of forests by the Swedish painter John Bauer. Her works are populated by rabbits, mushrooms, and other elements of forest scenery – tableaux that have the clarity of childish vision but are tales that are not for children. ‘I always felt drawn to darker things. It is in my blood,’ she says. But without darkness there would be no light. Much mythology relays the transformative power of nature to benefit man. Hygge - a feeling of candlelit cosiness and crackling fires - is as much in the zeitgeist at the moment as its antonym and is much in evidence in this exhibition too. From golden apples to pumpkins to fields of barley, Kate Malone’s pot-bellied gourds with their luscious glazes and Rasmussen’s corn dollies are delicately wrought effigies invoking a good harvest by embodying the spirit and mystery of the land. Some say that the difference between mythology and religion is that mythology is a religion nobody believes in anymore. This is not the place to state a case one way or the other, but to observe that both seem to rely on stories to bind us together and to make sense of the unknown. Philip Eglin makes figurines that in stance and colouring ape Northern Gothic woodcarvings at the same time as containing imagery related to football and sex, again the bonds that tie us together. Claire Curneen likewise explores the mystery between the real and imagined, inspired by effigies from churches dating from the early Italian Renaissance From Mummers’ plays to Burry Men, Sisyphus to Steam Punk, an interest in mythology pervades all genres of creative output at the moment with ceramics leading the way. It reflects a renewed interest in our connection to the earth and with each other at a time when we are only just waking up to how asleep we have been. Catherine Milner - Curator Malene Hartmann Rasmussen Corn Dolly Photo Credit: Sylvain Deleu

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Clare Curneen Over My Dead Body, 2018, Porcelain 70cm 5


Sam Bakewell love & blood but never an abstraction 2015

MYTH

M A T E R I A L M E TA M O R P H O S I S

Porcelain, 16cm x 16cm x 18cm Photo credit: Sylvain Deleu

When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say’st, ‘Beauty is truth, truth beauty, - that is all Ye know on earth, and all ye need to know.’ John Keats, Ode to a Grecian Urn

It may be no more than a curious twist of fate that the oldest Chinese porcelain vessel to have entered Europe is The Fonthill Vase – named after the very place in Wiltshire where the exhibition Myth, Material and

Barnaby Barford The Polar Bear, 2016 Porcelain, sculpted foam,

Metamorphosis is currently being held. The vase, which was made in 1300 AD once belonged to William

steel frame, enamelled

Beckford, the biggest art collector of the 18th century who owned the Fonthill Estate near Tisbury. The fact

245 x 85 x 135cm

that this vase has survived intact for more than 700 years highlights one of the key fascinations with porcelain

wire, painted plywood Unique

as a material; its fragility yet strength. At a time when the indestructible nature of plastic packaging is being widely debated, the beauty of porcelain lies partly in the fact that it can be shattered in a single blow, reinforcing its delicacy and vulnerability. Equally, without the intervention of man, the clay from which it is forged, is nothing; only the human hand and human imagination turns it from being a prosaic material into a poetic one. Different clays have different personalities; like the artists who adopt them. For some, like Grayson Perry it is not porcelain but the slapdash gusto, the muddy imperfection of earthenware that fires his imagination. This is the material that is most forgiving of errors and technical mistakes, allowing him to revel in creating layers of drawings, punctuated by sculptural reliefs with a freedom not allowed by its snowy, more demanding cousin. Perry’s works are crudely made, impulsive and expressive with cracks and glazes as thick as syrup. The malleability of this type of clay leads to a fluidity of expression few other materials will allow, translating the inner cogitations of the artist into concrete form in the most direct and spontaneous manner possible. 6

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MYTH

M A T E R I A L M E TA M O R P H O S I S

For other artists in this show like Sam Bakewell the clay is strictly controlled and refined; its messiness obliterated in the creation of works that are as still as they are pure. The punctiliousness and self discipline required to create the ropes of the fence broken by the deer in his masterpiece dying, dead & I, for instance, creates works of an almost dream-like quality. This piece was made as a response to Bakewell’s childhood growing up in the Somerset countryside. The landscape the scene is built on is a cast of his back and head, referencing a Los Angeles crime scene photograph of a dead body floating in a black pool of oil. The scene depicts a young boy’s first encounter with death after a deer breaks its neck jumping a fence a situation almost banal in its everyday nature, that echoes the seemingly throw-away value of life. ‘More than anything it was a total test of my self and the material in terms of what we could both take’ says Bakewell. ‘Modelling and cutting up, and making moulds of all the separate parts of the deer, the boy, the posts; casting my body and making the moulds, then figuring out a way of building a fence from very thin porcelain threads; then finally joining it all together over the course of six months all to make one piece that I had no idea might collapse in the kiln. It was a total act to faith and single mindedness to something beyond purpose.’ Bakewell received an Arts Council grant to visit the French porcelain factory, Sévres to see their plaster mould archive and witness the incredible feats they were able to achieve in the past, following in the footsteps of Yayoi Kusama, Jeff Koons, and many other major artists exploring clay as a medium. After a long period in the doldrums during which time many porcelain factories have gone to the wall, the rise of ceramic sculpture which is increasingly

Claire Partington

inventive, technically sophisticated and magical, is creating a new role a material

Forest Fruits - Bear,

once dominated by companies like Sévres, Meissen and Nymphenburg as producers of sculpture. Sam Bakewell dying dead & I?, 2009 80cm x 80cm x 20cm Photo credit: Sylvain Deleu

2017 Earthenware, glaze, enamel, lustre & mixed

‘If we could once understand the common clay of earth we should understand everything’ said G.K. Chesteron.

media with two interchangeable heads,

It looks finally as if we are getting there.

62 x 39 x 20cm

Catherine Milner - Curator

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M Y T H M AT E R I A L

Alastair Mackie Untitled (sphere), 2004 Mouse skulls, wood, glass 35 x 30 x 30cm Last available

METAMORPHOSIS

Metamorphosis, according to the Roman poet Ovid in his magnum opus, Metamorphoses, is the fact that ‘everything changes, nothing perishes’. His poignant, materialist observation of life, and death, one which preempted the scientific realisation of the chaotic existence of the subatomic world, (the unstable structure that makes us and everything around us), by about two-thousand years, is an apt lens for viewing the artwork in the Long Gallery - the complimentary exhibition to the ceramics show in our barn. The thematic strand behind the curation here is the fundamental nature of material, the conversion of energy and the fluctuation of matter everywhere throughout the universe. The idea of change was key to Ovid’s Metamorphoses, he used classical gods and goddesses - as well as their subsequent transformations - as allegories of the great force of flux. This is a motif reflected in the subjects of works like Alexander the Great, 1982 and The Source (after Ingres), c.1983 by the pop-artist Andy Warhol; Narcissus (date unknown) by the neo-classical painter John William Waterhouse; as well as Merry-Joseph Blondel’s masterpiece Sappho, 1828. Other artists also featured in this space include Ann Carrington, Aubrey Beardsley, Charlotte Cory and Wolfe von Lenkiewicz. However, this introduction, with its focus on metamorphosis, will elaborate on several threedimensional works by artists Alastair Mackie, Polly Morgan and Bouke de Vries. Embodying Ovid’s immortal line, ‘everything changes’, is the last in the series Untitled (sphere), made in 2004 by sculptor Alastair Mackie. This orb, encased in glass, has been constructed from hundreds of mouse skulls, each having passed through the digestive tract of an owl and cleaned by its biological enzymes along the way. Mackie painstakingly extracted these skulls from owl pellets, a ritual that was common to his childhood in rural Cornwall, where he grew up in an agricultural community. Confronted with the reality of death from an early age, mortality permeates his artistic output, a preoccupation seemingly epitomised in Untitled (sphere). Stripped of flesh and blood these creatures, en masse, constitute a subliminal whole. Perversely the mice are far more aesthetically pleasing in death than they could ever aspire to be in life. These once sentient beings, who indeed have now perished, are able to live vicariously

Polly Morgan Ins and Outcomes, 2017 Royal Python Skin, polyurethane, ebony, acrylic, ziricote 120 x 115 x 190cm Unique

through their remains. They are gifted a liminal agency by Mackie, their benevolent creator-God. Great artists, like talented surgeons and doctors have the capacity to revive, revitalise and resuscitate.

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M Y T H M AT E R I A L

METAMORPHOSIS

Flyaway 2, an irreverent take on the genre of the found object, was made by London-based Dutch artist Bouke de Vries earlier in 2018. In Metamorphoses, Ovid readily transformed his heroes and heroines into birds, so to symbolise the instability of both human and godly existence. Ovid then divides these birds into predators and prey, symbolically reflecting the power that their prior selves had once held. Flyaway 2, an antique bird cage appendaged by crows wings, documents the capture of a split second. In the paradoxical stasis of mutation, this cage could be turning into its former captive or perhaps the vice versa. All the stages, the before and after are accounted for: it is an artwork about resonance…the bits in between. Still Life with Kingfisher, 2017, an example of de Vries’ ceramic work can be seen in Messums Wiltshire’s thirteenth-century medieval barn. Unlike Mackie and de Vries, whose work including the remains of animals constitutes a rather small part of their respective practices, the entirety of taxidermist Polly Morgan’s oeuvre relies on the certainty of natural death. Morgan’s 2 North A forms part of a new ‘body’ of work, largely influenced by public architecture and the range of materials that are used to construct those environments. In this series, the significance of colour is especially important to note, with Morgan purposefully restricting her palette. Here she draws from the calming colours found in hospitals: pale pinks, yellows, mauves and vivid turquoises; hues which punctuate the human life at its most vulnerable moments. 2 North A is a dazzlingly ode to material, made from hedgehog hide, jesmonite, silk and marble. Surprisingly, the hide is not the sole focal point, instead it is a building block, akin to the marble and jesmonite below. Morgan’s concern is not intrinsic material duality, Polly Morgan 2 North A, 2016 Hedgehog hide, jesmonite, silk, marble, 23 x 23 x 13cm Unique

whether an object is hard or soft, rough or smooth, or even dead or alive, but their similarities - here ontological

Bouke de Vries Fly Away 2, 2018 Antique birdcage and crow wings 47 x 33 x 37cm

status is not particularly relevant. The inevitability of metamorphosis can be understood as a great material democratiser: it engenders our own need to adapt as well as accept that indeed nothing perishes; it simply changes. Laura Grace Simpkins - Assistant Curator

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PA R T I C I PAT I N G A R T I S T S SAM BAKEWELL

ANN CARRINGTON

JESSICA HARRISON

ALASTAIR MACKIE

SIMONE PELLEGRINI

KATIE SPRAGG

BARNABY BARFORD

EL GATO CHIMNEY

MALENE HARTMANN RASMUSSEN

KATE MALONE

GRAYSON PERRY

BOUKE DE VRIES

AUBREY BEARDSLEY

CHARLOTTE CORY

CATRIN HOWELL

LIVIA MARIN

LENA PETERS

ANDY WARHOL

BERTOZZI AND CASONI

CLAIRE CURNEEN

KERRY JAMESON

POLLY MORGAN

CHRIS RIISAGER

JAMES WEBSTER

VIVIAN VAN BLERK

PHILIP EGLIN

JULES JOSEPH LEFEBVRE

CLAIRE PARTINGTON

CAROLEIN SMIT

JOHN WILLIAM WATERHOUSE

MERRY JOSEPH BLONDEL

ORI GERSHT

WOLFE VON LENKIEWICZ

CHRISTIE BROWN

ERIC GILL

SOPHIE WOODROW

WILFRID DE GLEHN

Sophie Woodrow 5 Pieces 2018 Glazed Ceramics 20cm (approx)

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LIST OF WORKS

SAM BAKEWELL b.1983 Education: UWIC Cardiff, 2005; Royal College of Art, 2011 Select Awards: Jerwood Makers’ Open, 2016; British Ceramics Biennial Award Winner, 2015; Queen Elizabeth Scholarship Trust Award, 2009

dying dead & I? 2009 Parian, 80 x 80 x 20cm Photo credit: Sylvain Deleu

BARNABY BARFORD b.1977 Education: Royal College of Art, 2002 Select Awards: Club 100 award in Art, Design & Craft, 2016; Medal of the President of the Italian Republic International Competition of Ceramic Art, 2007

soft, without will they dream 2015 Porcelain , 5.5cm x 5.5cm x 3cm Photo credit: Sylvain Deleu

love & blood but never an abstraction, 2015 Porcelain , 16 x 16 x 18cm Photo credit: Sylvain Deleu

The Polar Bear, 2016 Porcelain, sculpted foam, steel frame, enamelled wire, painted plywood, 245 x 85 x 135cm, Unique

AUBREY BEARDSLEY 1872 - 1898 Education: Hove and Sussex Grammar School, 1885 Public Collections: National Portrait Gallery, London, Tate, Gallant House Gallery, The Barber Institute of Fine Arts

VIVIAN VAN BLERK b.1971 Education: Michaelis School of Fine Art, 1995 Select Exhibitions: Interior Kingdoms and other Vanities, Brussels, 2017; Les Ailleurs, The Wunderkammer, Paris, 2016; Beirut Art Fair, Jennifer Norback Fine Art, Lebanon, 2014

Disgrazia (Disgrace) 2005 Polychrome ceramic, 55 x 24 x 30cm

Star Gazer 2017 Porcelain

Hippopotamus, cat and moon 2017 Porcelain, unique, 15 x 17 x 12cm

Rhino Hide 2017 Porcelain

MERRY JOSEPH BLONDEL 1781 - 1853 Education: École Nationale Supérieure des Beaux-Arts, 1802 Select Awards: Prix de Rome, 1803, Gold Medal, Salon of 1817, Légion d’Honneur, 1824 John and Salome 1894 Print framed, 31 x 26cm

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BERTOZZI & CASONI b.1957 & b.1961 Education: State Institute of Art for Faenza Ceramics Select Exhibitions: Italian Pavilion, Venice Biennale, 2009; Bertozzi & Casoni: Timeless, Museum Beelden aan Zee, Netherlands, 2013

The Toilet of Salome 1 1894 Print framed, 36 x 31cm

The Toilet of Salome 2 1894 Print framed, 37 x 32cm

Hyacinthe, 2017 Porcelain, unique, 15 x 17 x 12cm

Le scarabée dans le citronnier 2017 Porcelain Sappho recalled to life by the charm of music, oil on canvas, signed and dated at the lower right 1828 120 x 160cm 17


LIST OF WORKS CHRISTIE BROWN b.1946 Education: Harrow School of Art Higher, 1982; Manchester University, 1969 Select Awards: Emeritus Professor, University of Westminster, 2016; Arts and Humanities Research Council 3-Year Research Grant, 2011

Secret Conversations, Oedipus & The Sphinx 2017 Ceramics, 36 x 33 x 20cm

Secret Conversations, Bertha Mason & Mr Rochester 2017 Ceramics, 40 x 28 x 16cm

Secret Conversations, Romeo & Juliet, 2017 Ceramics, 38 x 26 x 20cm

EL GATO CHIMNEY b.1981 Education: Self Taught Select Exhibitions: Eterno Ritorno, Antonio Colombo Contemporary Art, Milan, 2017; The Forest Fire, Galeria Combustión Espontánea, Madrid, 2016

The Opponent Watercolor and gouache on cotton paper in bespoke wood frame, 70 x 100cm

Unknown Matter 2017 Watercolor and gouache on cotton paper in bespoke wood frame, 50 x 70 cm

From the Homage to John Martin Series

CHARLOTTE CORY b.1956 Education: University of York, 1985; University of Bristol, 1979 Select Exhibitions: Charlotte Bronte at the Soane, Sir John Soane’s Museum, 2016; Solo Show, Woolf Gallery, London, 2016; Fabricating Histories, Discovery Museum Newcastle, 2016

Entre Chien et Loup (5 Figures) 2003-5 Each Figure Ceramic and Mixed Media, 129 x 25 x 25cm

ANN CARRINGTON b.1962 Education: The Royal College of Art, 1987; Bourneville College of Art, Birmingham Select Awards: Arts Council of Great Britain Awards, 1994 & 1997; Commonwealth Fellowship for Sculpture, 1992; The Herbert Read Award, 1988

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Caribou 2016, Silver and nickel plated forks, bone, antler, wood, resin, 210 x 127 x 20 cm

Fresian Longhorn 2016 Bone handled knives, wood, 120 x 60cm

An Encounter in the Woods 2013 Digital collage including photo etching, etching, photography etc, 420 x 594mm unframed,

Her Best Parasol 2012 Digital collage including photo etching, etching, photography etc, 420 x 594mm unframed

Seizing the Light 2013 Digital collage including photo etching, etching, photography etc, 420 x 594mm unframed,

The Ramblers 2013 Digital collage including photo etching, etching, photography etc, 420 x 594mm unframed,

An Interesting Book 2016 Digital collage including photo etching, etching, photography etc, 420 x 594mm unframed

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LIST OF WORKS CLAIRE CURNEEN b.1968 Education: University of Wales, 1992; University of Ulster, 1991; Crawford College of Art & Design, 1990 Select Awards: Outstanding Exhibit by the Crafts Council, 2017; Taiwan International Ceramics Biennale Competition, 2008

ERIC GILL 1882 - 1940 Education: Chichester Technical and Art School, 1900, Central St Martins School of Art and Design Public Collections: Tate Gallery, British Museum, The Ingram Collection of Modern British and Contemporary Art

Bird Figure, 2018 Porcelain and gold lustre, 68cm

Over My Dead Body, 2018, Porcelain, 70cm

Tending the Fires, 2016 Porcelain parts assembled on charcoal black plinth, 250cm

JESSICA HARRISON b.1982

PHILIP EGLIN b.1959 Education: Staffordshire Polytechnic, 1982; Royal College of Art, 1986 Public Collections: Stedelijk Museum, Netherlands, Fitzwilliam Museum, Cambridge, National Museum of Scotland, Edinburgh, Victoria & Albert Museum 20

Education: University of Edinburgh, 2013; Edinburgh College of Art, 2007; University of Edinburgh, 2005 Select Awards: Academician (Elect) of the Royal Scottish Academy; Craft Pottery Charitable Trust Annual Award, 2017

Shooting at the Edge of the Jungle (jug), 2013, 44 x 44 x 25cm

Jug Set 3, 2013, Ceramic , 16 - 18 cm

Angela, 1992 Found ceramic, glaze, 21 x 17 x 12cm

Standing Nude, June ‘28 Pencil on Paper, 41.9 x 24.2cm, Signed with monogram and dated

ORI GERSHT b.1967 Education: University of Westminster, 1992; Royal College of Art, 1995 Select Awards: Onfuri International, Tirana Winner, 2004; Tel Aviv Museum of Art, The Constantiner Photographer Award for an Israeli Artist, 2000; South Bank Photo Show, 1990

Marilyn Found ceramic, glaze, 19 x 13 x 14.5cm

Blow Up, Untitled 17, 2016 LightJet print. This work is from an edition of 6 + 2 AP, 227 x 180cm

Enchantment Found ceramic, glaze, 20 x 11.5 x 12cm

Sarah Bone china , 21 x 17 x 16.5cm

Elaine Found ceramic, glaze, 19 x 18.5 x 13.5cm 21


LIST OF WORKS MALENE HARTMANN RASMUSSEN b.1973 Education: Royal College of Art, London, 2011; The Royal Academy of Fine Arts School of Design, Bornholm, 2009 Select Awards: Winner, Craft Emergency, 2014; Nomination, Carter Preston Prize, 2016

Photo credits: Sylvain Deleu

Corn Dolly (mask) 2017 Ceramic, 49 x 43 x 11.5cm

Nightfall 2015 Ceramic, 17 x 45 x 45cm

Troll #8 2017 Ceramic, 51 x 42 x 11cm

Troll #7 2017 Ceramic, 36 x 32 x 1cm

In the Dead of Night, 2015 (large monster) Ceramic, 60 x 50 x 45cm Corn Dolly (series) 2017 Ceramic, Dimensions vary

My Inner Beast #5 Ceramic, 2017 36 x 38.5 x 30cm 22

Horse, 2017 Ceramic, 35 x 35 x 11cm , Ceramic base (optional), 20 x 33cm

CATRIN HOWELL b.1969 Education: Royal College of Art, 2005; University of Wolverhampton, 1992 Select Awards: Arts Council of Wales, 2007; Gold Medal in Craft and Design, 1998 WILFRID DE GLEHN 1870 - 1951 Education: École des BeauxArts, 1890 Public Collections: National Portrait Gallery, Tate, Manchester Art Gallery, Royal Academy of Arts, Guildhall Art Gallery, Walker Art Gallery

KERRY JAMESON b.1969 Education: Royal College of Art, 2009; Central Saint Martins College of Art & Design, 1992 Select Awards: The Oppenheim-John Downes Memorial Trust Award, 2014; New Exhibitors Prize, Chelsea Crafts Fair, 1997

Apollo and Daphne, 1934 Sanguine, 33 x 48cm

Leda and the Swan 1907 Etching; one of three states, 20 x 15cm

Andromeda Oil on canvas, 64 x 56cm

Horse and Rider, 2013 Ceramic, 27 x 18 x 11cm

Jug 1, 2013 Ceramic, 31 x 29 x 21cm

Perfectly Imperfect Group, 2015 Porcelain, 18 x 34 x 26cm

In Costume, Half Man/Half Beast, 2013 Ceramic 27 x 10 x 7cm 24 x 9 x 6cm

Jug 2, 2013 Ceramic, 31 x 29 x 21cm

The Three Fellows 2015 Porcelain, 20 x 16 x 8cm 23


LIST OF WORKS KATE MALONE b.1959 Education: Royal College of Art, 1986; Bristol Polytechnic, 1982 Select Awards: Kate Malone: Inspired by Waddesdon, Waddesdon Manor, 2016; Ceramic Rooms with Edmund de Waal, Geffrye Museum, London, 2003

JULES JOSEPH LEFEBVRE 1836 - 1911 Education: École Nationale Supérieure des Beaux-Arts Select Awards: Prix de Rome, 1861; Légion d’Honneur, 1870; Member of the Académie des Beaux-Arts, 1891 Diana, 1917 Watercolour, signed and dated, 36.2 x 26cm

ALASTAIR MACKIE b.1977 Education: City and Guilds London School, 2002; Camberwell College of Art, 1997 Select Awards: City and Guilds Sculpture Prize, 2000; Madame Tussaud’s Award,1999

WOLFE VON LENKIEWICZ b.1966 Education: University of York, 1990 Select Exhibitions: Processions of Orpheus, Jewish Museum and Tolerance Centre, Moscow, 2018; L’Oeuvre, House of the Nobleman, London, 2016 Who is the Fairest One of All? 2010 Silk-screen print on Somerset satin paper, 159 x 108cm, Edition of 10

Untitled (sphere), 2004 Mouse skulls, wood, glass, 21 x 21 x 21cm Case 35 x 30 x 30cm, Series of 4 + 2 artist proofs 24

LIVIA MARIN b.1973 Education: Goldsmiths College, 2012; Universidad de Chile, 2004; Universidad ARCIS, 1998 Select Exhibitions: Amphorae, Proyecto H, Madrid, 2017; Tejas Verdes: I was not there, Peltz Gallery, London, 2016; Faults, Galería Patricia Ready, Santiago, Chile, 2014

Bird Lady, 2016 Silk-screen print on linen, 64 x 36 cm, Not in an edition, Unique

Monsieur Hébert’s Lidded Sèvres Jar, 2016, Crystalline-glazed stoneware, 51 x Dia 23cm

Seed Treasure Box, 2016, Crystalline-glazed stoneware, 17 x 18 x 12cm

Waddesdon Big Mother Pumpkin, 2017, Crystalline-glazed stoneware, 53 x 55 x 47cm

Light Artichoke, 2017, Crystalline-glazed stoneware, 18cm x Dia 21cm

2 North A, 2016 Hedgehog hide, jesmonite, silk, marble, 23 x 23 x 13cm, Unique

Ins and Outcomes, 2017 Royal Python Skin, polyurethane, ebony, acrylic, ziricote, 120 x 115 x 190cm, Unique

Fennel, 2017, Crystalline-glazed stoneware , 23 x 17 x 16cm

POLLY MORGAN b.1980 Education: Queen Mary, University of London, 2002 Select Exhibition: Naturalia, Paul Kasmin Gallery, New York, 2017; Taxidermy is Dead, Long Live Taxidermy, Horniman Museum, 2015 Livia Marin Nomad Patterns, 2017 37 x 21.5 x 10cm, Ceramic

3 East B, 2016 Burmese Python hide, polyurethane, close-cell foam, 25 x 22.5 x 14.5cm, Unique 25


LIST OF WORKS GRAYSON PERRY b.1960 Education: Portsmouth Polytechnic, 1982 Select Awards: CBE, 2013; Royal Academician, 2012; Turner Prize, 2003

SIMONE PELLEGRINI b.1972 Education: L’Accademia di Belle Arti di Urbino, 2003 More? Public Collections: Museum of Modern Art, Bologna; Civic Museum, Monza; Volker Feierabend, Milan ’England Goodbye’ Sex Cup, 1987 10 x 19cm,, (sold together)

’England Goodbye’ Sex Saucer, 1987 19cm dia (sold together)

Golfo dei Flutti, 2016 Oil and pigment on paper, 160cm x 80cm

LENA PETERS b.1994 Education: Central Saint Martins School of Art & Design, 2017; Chesterfield College, 2013 Select Exhibitions: Vases and Vessels, David Gill Gallery, 2017; The Beginning with UKYA, Seoul, South Korea, 2017; FRESH, Biennial, Stokeon-Trent, 2017 Cosmic Chic Crucifix 1987 49 x 29cm

Fern Pot (restored) 1987 17 x 10cm

Arriaca, 2017 Oil and pigment on paper, 200cm x 100cm

Deer Figure Lying Down, 2018, Earthenware vessel with underglaze surface detail, 25 x 35 x 15cm

Four Hogs Platter, 1986 37 x 29cm

CHRIS RIISAGER b.1961 Education: Goldsmiths, 1984 Select Exhibitions: Craft Exhibition, Richard Salmon Gallery, 1990; A Wessex Scene, Messums Wiltshire, 2017 Neptune Plate, 1984 29cm 26

Secret Plate, 1984 29cm

23 Platter, 1986 37 X 29cm

Sculptures and Outbuildings, 2017, Gouache on paper, 27 x 21cm

Nymph and Satyr, 2017, Gouache and chalk on paper, 18.5 x 22cm 27


LIST OF WORKS Forest Fruits - Bear 2017 Earthenware, glaze, enamel, lustre & mixed media with two interchangeable heads, 62 x 39 x 20cm

CLAIRE PARTINGTON b.1973 Education: Central Saint Martins Schools of Art and Design, 1995 Select Awards: A Cautionary Tale, James Freeman Gallery, London, 2017; Inspired By, Victoria & Albert Museum, 2007

BOUKE DE VRIES b.1960 Education: Central Saint Martin’s School of Art and Design, London, 1983; Design Academy, Eindhoven, 1981 Select Exhibitions: War and Pieces, The Harley Gallery, 2017; Material: Earth, Messums Wiltshire, 2017; Asia-Amsterdam, Peabody Essex Museum, USA, 2016

CAROLEIN SMIT b.1960 Education: European Ceramics Working Centre, 1996; Academie of Fine Arts, St Joost, Breda, The Netherlands, 1984 Select Exhibitions: Myth and Mortality, Victoria & Albert Museum, 2018; L’Amour Fou, Flatlandgallery, Amsterdam, 2015; Emanation, Gallerie Michael Haas, Berlin, 2014

Fly Away 3, 2018

Antique birdcage and crow wings,

Antique birdcage, porcelain and jay wings

47 x 33 x 37cm

56 x 40 x 33cm

Still life with Kingfisher, 2017 17th century Chinese porcelain bowl, taxidermy, wax fruit and mixed media, 33 x 33 x 24cm

Medusa 2017 Ceramic sculpture, 27cm x 25cm x 25cm

KATIE SPRAGG b.1987 Education: Royal College of Art, 2016; University of Brighton, 2010, Camberwell College of Art, 2007 Select Awards: American Crafts Council Conference Bursary, 2016; V&A’s Studio Ceramics: Early Career UK Makers Residency, Shortlisted, 2013

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Fly Away 2, 2018

Pug on a Jewellery Box 2017 Ceramic sculpture, 38cm x 26cm x 24cm

The Palm House (Sketch) 2018 Porcelain, glass, wood, concrete, 38 x 24.5 x 15.5cm

ANDY WARHOL 1928 - 1987 Education: Carnegie Institute of Technology, 1949 Public Collections: Tate, MoMa, Guggenheim, The Getty, The Andy Warhol Museum

Alexander the Great, 1982 Graphite on HMP paper, 80.0 x 59.7cm

The Source (after Ingres), c.1983 Graphite in HMP paper , 80 x 61cm 29


LIST OF WORKS

My Inner Beast #5 Ceramic 2017 36 x 38.5 x 30cm

JOHN WILLIAM WATERHOUSE 1849 - 1917 ANN CARRINGTON Education: Royal Academy This is dummy text, a short of Arts, 1871 resume of the artist, date of Public Collections: Tate, birth and any other information Royal Academy of Arts, Lady that is required etc etc. This is Lever Art Gallery, Liverpool; dummy text, a short resume of Manchester City Art Gallery, the artist. City of Plymouth Art Gallery

Study for the head of a young To Come

man, possibly Fresian Longhorn 2016 Narcissus OilKnives, on canvas, Bone Handled Wood 41cm Dimensions: 53.5 To bex discussed (depending on how exhibited)

JAMES WEBSTER b.1978 Education: Apprenticeship to Marianne Luchetti, Florence, EL GATO CHIMNEY 2007; Fine Art Norwich School This is dummy text, a short of Art, 2002 resume of the artist, date of Select Awards: Martyrs, ART birth and any other information SABLON, Brussels, 2017; that is required etc etc. This is Trophies, VDK/JFK, Brussels, dummy text, a short resume of 2016 the artist.

Stork Gold 2018 2/2 Porcelain The Opponent Watercolor and gouache on cotton paper in bespoke wood frame, W 70cm x H 100cm

Stork 2015 4/4 Porcelain

Unknown Matter, 2017 Watercolor and gouache on cotton paper in bespoke wood frame, 50 x 70 cm

SOPHIE WOODROW b.1979 Education: Falmouth College of Arts, 2001 Select Exhibitions: Ceramic Show Case, Yorkshire Sculptural Park, 2012 Craft Gallery, Aberystwyth Arts Centre, 2012 Group of Three Porcelain and glaze, Approximately 20cm 30

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ACKNOWLEDGEMENTS

Messums Wiltshire was founded in 2016 to celebrate the creative and making process. This has always been a collaborative endeavour and we are extremely grateful to our staff here who have so ably supported the programming. To our curators, to Hannah for installation and Stephanie on press, Philip on the production and the rest of our team for the vital roles that go to supporting the collective effort. Our thanks too to those who have helped bring this show together: GALLERIES & INDIVIDUALS

PHOTOGRAPHERS

Adrian Sassoon

Iain Kemp

Ben Brown Fine Arts

Philip Sayer

Cardi Gallery

Sylvain Deleu

Copperfield Gallery

Toril Brancher

Daniel Katz Ltd David Gill Gallery Galerie Thaddaeus Ropac James Birch James Freeman Gallery Jonathan Kugel The Maas Gallery Marsden Woo Gallery Messum’s

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