ABOUT

Summary

I am a full time artist based in London. I currently work both in London and a small town in the south of France called Elne, part of Catalonia near the Pyrenees. Here I have had access to facilities and support networks that allow me to develop my work in depth. The majority of my ceramic work I make is thrown; made on either a standing kick, momentum or electric wheel. Since 2009 I have exhibited mostly in France including a range of group and single shows. I have also made a large number of works for individual clients and collectors who often commission works for their own private collections or for exhibition. This has included private and public commissions. In 2018 I completed an MA in Ceramics at the RCA that allowed me to challenge many of the ideas that I had been developing on my own in France and the work I produce now which is a combination of exhibition sculptural form, vessels and functional ware has evolved through careful development through this time returning to art college.

Currently, much of my ceramic work involves painting with oxides, slips and engobes under transparent glazes in traditions similar to those of Korea, China, Japan and Greek Archaic ware. Although, the work I make in painting and ceramics share similar common values, there are some very important distinctions that I make when working with the brush on clay form as opposed to representing naturalistic figurative subject matter on a 2d surface. My working practice will often involve developing the ceramic work and the 2d work side by side as my projects develop. My ideal at some point, is to exhibit the different practices together.

Background, themes and ideas

I make a variety of works from paintings in watercolour and oils to ceramic vessels and sculptural work with earthenware, stoneware and porcelain. Some of this work is functional ware which I love to make and informs my sculptural vessels and exhibition work in a variety of ways. Personally, I don’t make a distinction between the work I make for exhibition and functional ware, besides having to accept that there is a significant difference in the approach the art market takes to such work. For example, I see the same value, worthy of close and passionate study in a beautifully thrown tenmoku glazed jug by Jim Malone or Phil Rogers and a painting such as Titian’s Death of Actaeon, in London’s National Gallery. As a result, I learned how to throw well controlled walls for pots without excessive turning and have been inspired to discover traditions and conventions of representation that were initially unfamiliar to me.

The recent sculptural works, including ones made for an exhibition in 2019 at Rosenfeld Porcini include themes, techniques and ideas that have been developed through a combination of my studies of pottery and painting practice over the years. Many of the themes in the figurative representations are centred around exploring ideas about human experience, identity and individuality and the relationship between vulnerability and strength, in a variety of context. Much of the iconography depicted is from a wide variety of sources including mythology, fairy stories, philosophical texts, among other things. I often play Devil’s advocate in exploring ideas through particular characters. These characters act as protagonists, allowing a quality of perception or a sort of injected cultural, social or political paradigm to exist, intended to extend psychologically into the representational narrative, such as in some of the depictions of Diogenes on my vessels from 2019. This in turn enables me to explore more deeply ideas using a range of ‘collaged’ elements from sources as broad as Medieval iconography, (four temperaments for example, see works from 2018), to contemporary pop culture and figures who in their own lives lived have represented values or ideas that I admire. Such individuals, highlight the complex nature of the human condition; questions of individual ethical behaviour in a world compromised by institutional culture; be it political, theological or otherwise, but where compassion and empathy is largely removed through an integrated set of protocol from a hegemony that’s principle aims are often far removed human vulnerability. How such an individual behaves and retains ‘humanity’ in such an environment, where values such as compassion, individuality and empathy are so often being challenged by things so far from the control of an individual person. I would include here two examples, Edith Cavell and Sylvia Pankhurst, who stand as individuals confronted with extremely complex situations in their lives but appeared to always hold onto a strong ‘humanist’ philosophy, at least in regards with their dealings with other human beings. Over the last ten years with my study of Yongle and Yuan dynasty porcelain and my training in tai chi, have allowed me to explore such ideas from new perspectives and my iconography has extended to include Taoist and Buddhist symbols and references which I occasionally integrate with iconography from sources such as European16th century examples of German painting, for example.

The freedom to explore these ideas and imagery is very important, but also to note that for me, the use of ambiguity in the non linear narrative is very important in creating representation. It is not however, random and I use a range of deconstruction processes to combine imagery and ideas that intentionally challenge my bias for positioning a character or directing an idea too strongly in any one direction. Some of this comes from studying European artists such as Durer but also a much more diverse range of traditions such as black and red figure Archaic Greek potters such as Exekias and the Brygos painter, in which the image requires the viewer to engage both emotionally and intellectually. These works represent for me the complete antithesis of a ‘glimpse’ culture that the internet (despite all its wonderful benefits) often provides us with today in reinforcing complacency and consumption in how we interact with images and visual language generally. My work in part is to hold onto analogue traditions of representation, ones that slow down the interaction of the viewer with visual culture, creating a pause to think along a wider ranging continumm than is often possible for us through the internet. The hope with the type of work I make, is to create a more intimate engagement with the viewer/spectator, undoing to a very small extent the inevitable ‘training’ and complacency of our interactions with the digital platforms that attempt to undermine our conscious abilities to interact with the never ending amounts of visual stimulus that we are conditioned to consume everyday.

Study and development

I initially studied fine art at Camberwell and Canterbury and the principle focus has always been painting and drawing, so much of what I do relies upon my knowledge and experience of the conventions particularly of European painting. My work is informed technically and to some extent iconographically by these traditions. However, my interests are extremely broad and eclectic and include a wide range of references such as academic and theoretical approaches that allow me to explore specific areas within visual representational culture. This includes for example, social semiotics, (specifically indexical qualities and spatial codes) along with traditional approaches to iconography, such as those represented by Panofsky and Wolflin.

Over a long period of development, the integration of these different areas of study into the production of my painting and ceramic work have proven to be very useful, while also allowing me to explore deeply my passion for a wider range of visual culture.

Initially I started in ceramics with hand building vessels inspired by Greek Archaic, Iznik and Chinese porcelain examples, but on discovering the wheel, I encountered traditions of working with clay that were completely new to me. Korean Buncheong, Choson Dynasty porcelain, Hamada and Shimaoka, contemporary potters inspired in part by Mashiko and other Japanese traditions and of course the Leach tradition and potters from Devon and Cornwall, all started to pull me towards other directions opening up new territories for me to delve deeply into and to study.

More specifically, it was the various conventions within these traditions, passing through generations and demonstrating wonderful working practices and philosophy that inspired me. The work ethic, humility and submission to long study and years of practice, quite different to the egocentric background in fine art that I’d experienced growing up and something that I’d identified as a problem inherent in my painting up until this point. However, I also realised I’d never really ‘settled’ as a painter and this approach I was witnessing in ceramic traditions that had unconsciously guided me through long arduous years of study through painting, was to reap benefits in my ongoing studies within ceramic practice, I was soon to discover.

I decided I wanted to learn many of these processes and go ever deeper into the intimate wonderful world of working with clay and learn from the magnificent examples of practitioners many of whom continue to make work being inspired from traditions of the past. Never before has there been such an opportunity to study such a variety of long standing traditions and with such depth, with all the advantages of existing media platforms such as you tube available to us, as well as, frankly, the luxurious technology (such as Shimpo wheels), that makes working with clay so accessible today.

On the one hand I wanted to understand the technical aspects of throwing upon different types of wheel, but also to gain enough mastery to be able to explore widely different methods of making and why they have remained so relevant over the millennia. Much of the practice established in potteries around the world are focused on problem solving solutions to producing work that will survive firings and be used within homes, being strong enough to be used daily. So, working with the limitations of available materials or technology create some very innovative solutions often founded upon enormous skill, sensitivity and familiarity to material and process, they also produce results of exceptional qualities of beauty and vitality often because of the contexts in which they are made. It is often these so called ‘limitations’ that have produced the most interesting ceramic work. The V and A has examples of Medieval jugs that can attest to this, The British Museum, a whole room full of mostly Nigerian pots that are fired using local materials and perform perfectly for keeping water cool and fresh in a humid environment; combinations of pragmatic solutions to working with low fired clays producing beautiful results. The functional and pragmatic, appropriate solution married to a unique aesthetic. Last but not least, works such as those from Mashiko, especially of Hamada Shoji, who spent his life working with a hand momentum wheel and with his son, Shinsaku using a Korean kickwheel producing wide bowls glazed with rice husk ash and persimmon glazes from the locality, developing a wonderful equilibrium between life and work.

Within such limitations I think it is often possible to grow into very profound depths of awareness, through an intimate and familiar dedication to the work and being open to working with process and material, well beyond words can explain I think. But I’ll give it a go!

….…. My experience with working with the brush and the wheel has been a difficult one to integrate. But this idea of familiarity and intimacy and an increasing sense of ‘presence’ or awareness seems very similar to me in both practices. Working with the brush for example, with a line, moving smoothly over a surface, be it paper or porcelain; holding the pressure (no sense of panic or force, even though great strength might be at work), much like the lifting of clay on the wheel, the mind seems to slow down into the presence of the movement and moment, (‘slow is smooth, smooth is fast’). It is an exquisite feeling, the result of much practice. It is a surprising place I’ve noticed to be, free from fear or panic, even though the activity might appear ‘risky’ in that a momentary distraction or doubt will affect the width of straight line on the paper or porcelain, or the clay may wobble and collapse as it is being lifted into form. At the same time there is a sense of complete relaxed confidence in the present centred action however, never a sense of complacency. Any sense of self consciousness is quickly punished, it’s like stepping into a parallel dimension and especially working with porcelain, any distraction or sense of ‘rush’ can be very unforgiving.

What is so extraordinary is how similar both activities are and how they relate to so many other activities in life. Being in this zone is an extraordinary place to be and most of the time I am very far from being anywhere near this dimension, governed instead by ego and fears. But it’s enough to know it exists for me in the creative practices of painting and pottery and the tai chi that I practice. Hamada, in Susan Peterson’s book, describes making pottery as, ( I think especially applies to the wheel), ‘walking down a mountain in a cool breeze’. It allows a journey into ever more wondrous territory, opening onto an internal world, time slows down and an ever increasing sense of present moment awareness appears. It is this intimate ever evolving subtle quality of process in the magical creation of form and material that keeps me hooked to explore ever deeper.

​​Selected exhibitions and commissions.

July 2019 Rosenfeld Porcini gallery. Exhibtion ‘Materia’

November 2018 Joanna Bird exhibition ‘Heavenly Bodies’

October 2018 Exhibition Toad Gallery, Kings Road

June 2018 Final show M.A. Royal College of Art.

March 2017 Work in progress show, Royal College of Art

June - July 2016 'Autour du Royaume de Majorque', Arach Association, Port-Vendres.

July - 2015 Salon de la Ceramique, Centre d'Art de Port Vendres.

​Jan Oct 2013 Individual private commissions including 'La Cene' painting and 1st series of 'Alice' ceramic group.

July 2013 Mixed slipware/painted earthenware Ceramics, Elne Mairie, group show.

July 2012 Private Exhibition, watercolours, oils and mixed ceramic work. Chez Jacques Duvillaret.

Feb 2012. large oils 'Dreams of Daedalus'/ Narrenschiff'. Private commissions.

Oct 2012 'Dreams of Daedalus' private painting commissions, Belgium and Swedish collectors.

Feb 2012 Bankside Gallery London. Large watercolour 'Pandora' selected for the Royal Insititute of Watercolour for their annual competition.

May 2012 'Adamus' Galleria Clic. Large pastel and oil paintings. Bookshop Gallery, Kingsland Road. E2 London.

Nov 2011 New Ceramic work. mixed series of painted ceramics. Sant jordi, Elne.

Aug 2011 New Ceramic work, private exhibition, Chez Jacques Duvillaret, Collioure.

May 2011 'Flamenco'. Exhibition of ceramics as part of a group show and celebration of Flamenco culture.

Dec 2010 Le Jardin des Metiers d'Arts, Elne.'Les Freres de Morphee' series.

June - Sept 2010. Atelier Machintosh, Mixed work, Collioure. Gallery Summer show.

June - Sept 2010 commission of 24 plates 'Les Freres de Morphee' series.

May 2010 Ubu gallery/cafe. Perpignan. Ceramics.

Dec 2009 Mixed work. Jardiin des metier des arts, Elne.

Oct 2009 Group Ceramic show, Architects gallery, Nantes.

May 2009 'Morpheus series', Paris. Rue de la Sante. Privately arranged exhibition.