MATERIAL: EAR TH
M Y T H , M AT E R I A L & M E TA M O R P H O S I S
MATERIAL : EAR TH
MYTH MATERIAL METAMORPHOSIS Saturday 10 February – Monday 2 April 2018
Bird Plate by Makoto Kagoshima 5
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
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
Over My Dead Body, 2018, Porcelain, 70cm
Tending the Fires, 2016 Porcelain parts assembled on charcoal black plinth, 250cm
JESSICA HARRISON b.1982 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
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 2, 2018
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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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
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
31
EVENTS 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:
Vivienne Foley
Makoto Kagoshima & John Julian
Polly Morgan
Clay Festival
10 February - 4 March
10 March - 1 April
Still Life After Death
29 - 31 March
16 March, 6.30pm
Vivienne Foley is renowned for
Julian Sainsbury and Makoto
making hand thrown, classical and
Kagoshima were initially brought
Messums Wiltshire is delighted
Continuing our programme of understanding through making. Join
abstract porcelain. Her works are
together to work on a collaboration
to welcome Polly Morgan,
us in our thirteenth century barn
revered for their clean lines and
of block print works for the Japanese
internationally acclaimed taxidermist
for three days of looking, listening
GALLERIES & INDIVIDUALS
PHOTOGRAPHERS
Adrian Sassoon
Iain Kemp
Ben Brown Fine Arts
Philip Sayer
disciplined shapes. Her pieces,
retailer, Isetan. In 2017 Kagoshima
to speak about the theme of
and creating. Children and adults
Cardi Gallery
Sylvain Deleu
with their sculptural curves, are
revisited the John Julian Workshop
metamorphosis in her works, as
alike will have the opportunity to
Copperfield Gallery
Toril Brancher
accentuated by monochrome glazes
and took the opportunity to visit
well as her thrilling career. Taking
get messy with clay, plaster and
using classical wheel-throwing
Messums Wiltshire. They decided
the title from her first exhibition in
more, whilst learning the techniques
and turning to sculpt clay with the
to cooperate again, this time on
2006, in her talk Morgan will speak
of working with earth. Our Clay
precision of an engineer. A selection
a series of hand painted works.
about her processes, inspirations
Festival celebrates one of the oldest
Daniel Katz Ltd David Gill Gallery
of her beautiful works, some of the
This exhibition is the debut for
and achievements, reflecting on a
forms of handicraft with a course of
Galerie Thaddaeus Ropac
last ever for sale, will be available to
their collaboration. The works join
‘body’ of work only possible in the
workshops as well as a lecture series
James Birch
purchase in our barn.
together the pared aesthetic of
remarkable and unusual medium of
in which we explore how a material
John Julian Studio Pottery with
ethically sourced animal remains.
present in some of the earliest works
James Freeman Gallery Jonathan Kugel The Maas Gallery Marsden Woo Gallery Messum’s
Kagoshima’s folkloric designs. Works
of art can continue to carry meaning
will be available from 9 March.
in our high-tech times to come.
Messums Wiltshire Place Farm, Court Street, Tisbury, Salisbury, Wiltshire SP3 6LW
01747 445042 messumswiltshire @messumsthebarn info@messumswiltshire.com www.messumswiltshire.com