Sara showed us some of her work several weeks ago, pots waiting to be fired and ideas being consolidated. What fun to catch up with Sara and see the transformation, clay and kiln, it really is alchemy.
Sara says – “I’m using a drill bit to make holes in these little drainers and then adding some black, slip trailed spots for extra excitement. They will have coloured transparent glaze and look very traditional.
My fantasy is to put one into an English slipware cabinet in the the Fitzwilliam and see it disappear amongst the other 18th century humorous rustic oddities”
Stone and slate have been Joe’s lifelong fascinations. Though he has later-life degrees from Glasgow in literature and writing he has had no formal sculptural training. His skills have been developed through a thorough practical coming- to- terms with the physical properties and possibilities of the materials he uses. Carving stone occasionally, in a modest fashion, he is essentially a builder up, rather than a chipper away. He has long been captivated by the fissile nature of slate, the creak, and puff of dust as it opens up to the intrusion of the chisel. In his current works he utilises this splitting propensity, hammer dresses the edges of the thin pieces thus produced and builds them up layer on layer in pursuit of his trademark curvaciousness of form. A series of vases – or faux vases, since they are solid rather than hollow – the first of which he created in1995, have been his most consistently sought after works, but his extended range includes spheroids, obelisks, ‘topiary’, and most recently the ‘wild pear’. He has works in public and private gardens in thirty-eight English and Scottish Counties, in Ireland, the Channel Islands, France, Norway, and Australia and, less conspicuously, across the Atlantic. He is delighted to be exhibiting in beautiful Cambridge.
Richard Bray is an academic artist, a sculptor whose work explores the natural forms of growth and development and their mathematical relationships in finely turned and carved woods. Richard is a well established artist who has shown with the Fine Art Society In London, has worked extensively with individuals and communities around Cambridge and has provided some of the most beautiful commemorative pieces for institutions such as the Genome Campus.
Richard has sent a photo of work in progress, mapped out in his studio, we wait to see the realisations – with anticipation.
Here are some of the items he has made for us before:
Melissa is currently working on her Masters in Fine Art at Norwich University of the Arts, we know her as an intrepid explorer in the realm of science, art and the subtleties of engineering. Melissa produces some wonderful fluid outline sculptures that describe the human figure, fruit, shells and now some crystalline sculptural forms. This last year Melissa has been working to combine science, material aesthetics and dance, some of her collaborations were included in performance at the Museum of Modern Art in Barcelona. Another branch of her work explores the structures of crystal lattices as sculpture, bringing science and art together.
A truly original person, Brenda takes inspiration from all quarters and translates through the medium of cutting shears and cloth into clothes that are walking art….. After many years travelling and living in different parts of the world, Brenda has returned to her beloved Cambridge where she now lives and works.
Her current projects are particularly inspired by time spent in Venice and Istanbul. Her imagination has been fired by the Byzantine world of these fabulous cities in which the styles of Europe and Asia meet and merge. She’s seduced by the opulence of that world, its grand spaces and secluded corners and by the patterns, textures and myriad colours with which the artisans adorned their clothes and ceremonies.
Brenda’s designs aim to capture the magic and brilliance of this extraordinary culture in highly distinctive clothes of quiet elegance.
Banks of primroses looks promising. The snake’s-head fritillaries are uncurling. We are working hard repairing bridges and turning the compost. The garden tool shed is the control room at the moment!
And over the brook hangs the beautiful Corylopsis Glabra, the fragrant Winter Hazel.
There is more than a little of the Mediterranean in Daphne Carnegy’s work.
An apprenticeship in France and several visits to Italy introduced her to the delights of earthenware and in particular, tin-glazed ware, often referred to as ‘maiolica’. Additional training at Harrow School of Art refined and developed her skills and confirmed a commitment to low-fired pottery. The attraction of maiolica for Daphne lies in its unique qualities – a softness, depth and luminosity of glaze and colour not to be found in other ceramic techniques. With both thrown and hand built shapes and decorations that draw on botanical illustration, textile designs and early Islamic ceramics, and Daphne likes to use a limited palette of shades of blue or black, painting on with these pigments as one would with watercolours. The results are striking and individual.
We look forward to having some of Daphne’s work with us from her London studio.