When starting out on this work I intended combining the urban/industrial with elements of the natural world, envisaging the main signifier as being the tree. To an extent this has happened but as time went past I found that other major signifier of the natural environment – the sea – beginning to seep into the work, evidence of my increasing concern with global warming and rising sea levels.
My worries about the loss of trees showing in the work as exactly that – by impressing hedge cuttings, leaves and seaweed into the clay and removing or burning out these things creating an absence, loss.
These photographs show that, despite the headlong rush to cover as much land as possible with new-build, there are still some truly liminal, and surreal, sights/sites to be found in Pontarddulais.
In the meantime some works at different stages – biscuit fired and raw.
I recently travelled to North Wales, with husband and younger daughter, visiting some galleries that were either new to me or that I haven’t seen in many years and that have undergone significant development.
Oriel Mostyn Shop
Oriel Mostyn was first on the itinerary – the main exhibition ‘No School’ – Camille Blatrix was intriguing but there was little in the way of information and I have to admit to spending most of the too-short time we had there in the lovely craft shop area. So much to see and admire but no money to buy unfortunately.
The next day we went to Ruthin Craft Centre and had a wonderful time at the international jewellery exhibition ‘Not Too Precious’. Here I should say I’d intended this trip for a month or two later but having a daughter, Hannah – a final year student on the Contemporary Design Craft course in Hereford desperate to see this exhibition I brought the trip forward.
So pleased I did as this is a brilliant show in a beautifully designed gallery. I loved not simply the jewellery but also the video of people trying some of the exhibits on – also enjoyed being able to try one on myself! It was a piece I wouldn’t choose visually but was wonderfully tactile. My favourite piece was by the Hungarian jeweller Flora Vagi and I thought it might have been ceramic but it isn’t!
Adam Buick
The retail space is fantastic too (I coveted an Adam Buick pot with a ‘crack’ snaking up one side!) and the member of staff there was extremely welcoming and helpful especially to Hannah as a student. We could have spent much longer there but instead had a delicious lunch in the cafe then headed off to Oriel Davies in Newtown.
This is a gallery that is completely new to me and another very attractive exhibition space quite different to the other two with a different focus and a retail space with little in the way of craft but a great selection of books. The ‘Flora’ exhibition was on at that time and we all enjoyed it – it is moving on now to Oriel Myrddin in Carmarthen so it will be interesting to see it there too and see how/if it changes the experience.
I had a great time in all these galleries and can’t wait to go again. Maybe next time I’ll even take some photos. I was too busy drinking it all in so these photos are courtesy of my husband, Alastair Duncan – thank you Alastair!
Waiting with somewhat bated breath for the outcome of today’s firing – lots of test pieces and one much larger form than I’ve made in a while. Also trying out a new, to me, clay body – Vulcan Black – on another largish piece. Fingers crossed!
In May I was thrilled to receive an Arts Council of Wales grant to buy a new kiln (following a firing catastrophe with my old one) and time to produce new work for my upcoming Maker in Focus exhibition in the Mission Gallery, Swansea from 23 February to 3 April 2016.
As soon as possible I went up to Stoke to get the new kiln, had it installed and had a few test firings before taking a much needed holiday. Since then I’ve had a few more firings – still getting to grips with the controller – but work is now in progress.
