Monday, 12 November 2018

Oxford Ceramics Fair, 2018 - 3

Continuing with the exhibits at the Oxford Ceramics Fair, 2018.

Jude Jelfs:

Mitch Plkington:

Ana Bridgewater:

Akiko Hirai:

Wednesday, 7 November 2018

Oxford Ceramics Fair, 2018 - 2

Some more ceramics from this year's fair.

John Wheeldon:

Stephen Parry:

Jo Keogh:

'Material and surface make an active contribution to the form. Pieces are frequently cast using a while semi-porcelain slip, glazed using a bright white zircon glaze, or press moulded using a rough black stoneware, sealed with a wash of frit. The resulting whitewares have a finish analogous with the sterility of laboratory equipment and sanitary ware, contradicting the crafted element. The reflective nature of the glaze accentuates contours and undulations within the work. Clean, uncomplicated firing in an electric kiln leaves surfaces unaltered, not disguising the subtle marks of making. In contract, the black stoneware has a dark, matt, craggy finish, synonymous with the highly tactile ceramic pieces emanating from the ancient kilns of Japan'.

Rachel Wood:

Katharina Klug:

'While striving for perfection in the shape of the vessel, I deliberately embrace imperfections in my surface pattern designs. I draw freehand onto the form using my trademark crayons'.

Monday, 5 November 2018

Oxford Ceramics Fair 2018 - 1

The Oxford Ceramics Fair is one of the highlights of the autumn, but unfortunately we did not enjoy it as much this year. The exhibits were as good as in previous years, but the new venue is a great disappointment: the hall felt too small for the amount of people who go to the fair so it was very difficult to get near enough the stalls to have a proper look. Furthermore, it was freezing cold, not only because the hall was not heated, but also because the huge double doors were open - not only did we keep our coats and scarves on, but we were so cold that I was worried about handling the exhibits in case I dropped one. 

Ashraf Hanna:

Antonia Salmon:

Sara Moorhouse:

' The bowls act as a canvas for paintings that distil specific landscape scenes, perceptibly altering the size, depth and shape of the form by the applied colour. The forms can be made to seem wider or narrowed, deeper or shallower, heavier or lighter, or they may appear to undulate, bend, move or hover by the juxtaposition of finer lines. The viewing of both inner and outer surfaces together enables me to exploit colour connections and visual play from one side to another, emphasising or flattening the dimensionality of the form...

As part of the research-based practice I returned to the basics of colour theory and tested out ideas on the three-dimensional conical form. I found that colours behave differently when viewed across three-dimensional space than on a two-dimensional surface, particularly on the inner bowl form where illusions can appear much stronger...

The pieces are hand thrown and turned, the movement of the wheel often reflected in the slight asymmetry of the form. The lines are applied by returning the bisque fired bowl to the wheel and painted with ceramic colour by hand. A matt glaze is then applied to stabilise and enhance the coloured surface'.

Justine Allison:

Allison's light, delicate, translucent porcelain pots are slab-built.

Maria Wojdat: