Whilst in lockdown we have been exploring UK studio ceramics over the last 100 years. Initially the presentation started with the Leach school pottery which was characterised by its mainly functional ware, reduction stoneware firing and muted and earthy pallet of colours. Made by rurally situated potters who worked with assistance or apprentices involving short batch production, pieces were often inspired by oriental forms and finishes. Not my favourite genre but I did appreciate the works of Ladi Kwali and David Firth.
The urban potters were the antithesis of the Leach School of pottery who were generally art school trained, non-functional non-vessel orientated with a tendency towards earthenware or oxidation stoneware firing. Based in urban situated studios they used brighter palettes of colour and had much broader sources of inspiration with a tendency towards creating one-off pieces. My favourite potters in this section included Lucie Rie, Hans Coper and James Tower. I particularly appreciated James’s forms which is something I would like to further explore.
The next part of the presentation focused on contemporary British ceramics where inspiration references a wide range of visual and philosophical historical and contemporary cultural reference points. The field embraces a huge and diverse range of creative expression, approaches, processes and intentions. My favourite artists in this field include Eddie Curtis, Anna Lambert, Kyra Cane, Patricia Shone and Wendy Lawrence for the textural qualities to their work and/or reference to sense of place. I was unaware of the work of Rachel Wood pictured below but greatly appreciated her surface decoration qualities.
Being a fan of the raku technique I enjoyed the work of David Roberts. The textual finishes on Geoffrey Swindell‘s pieces was lovely to see as was Akiko Hirai. I’m a great admirer of Jim Robinson’s pieces particularly when he combines different textures together to create a textural picture to his work. Takashi Yasuda’s torn edges and James Oughtibridge’s unusual forms have a pleasing quality to them which I would like to emulate.
The last part of the presentation focused on figurative and conceptual ceramics. Not normally my favourite genre however I was surprised by how much installation work I appreciated. I liked the peaceful facial expressions in Sally MacDonell’s figures which were in stark contrast to the energy of Emma Rogers’s animal sculptures. Jenny Bevan’s textural qualities in her work were inspiring. The construction of Gwen Heeney’s installations are something to note and possibly explore, although aesthetically her work is not my cup of tea. Surprisingly I enjoyed the art installations of Claire Twomey and Andrew Burton, both artists previously I did not know.
Through this presentation I have been introduced to a number of potters who are new to me but have provided a lot of inspiration for my own work and therefore has been invaluable.
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