The cup was made for a competition in Taiwan to design a novel coffee cup for the ceramics Museum in Taipei.
Espresso as drunk in Italy is normally served at the bar. It’s a quick shot of energy, strong and sweet. You probably don’t even notice what the cup looks like. My idea was to slow things just a little to centre the mind.
I wanted the drinker to have to assess and enjoy a new experience that challenged all the senses and added another dimension to the enjoyment of the strong coffee.
It is a double cast form, hollow inside thus protecting the hands from heat. It’s a two handed cupping experience to drink from it. The inside has a sculptural off-centre feel and thus you have to choose the side you drink from. This is rather like a Japanese teabowl.
The form of the inside was generated by playing with stretched rubber forms creating visual tension. The clay body of the cup is stained with oxides and the glaze is a simple transparent glaze without colour.
The sensation of drinking from it as told by testers is more primal than a normal cup, more like drinking from a small pool in a rock.
An exhibition of selected works made during the ongoing Covid pandemic.
Art is about life, and with it the opportunities and changes that sudden national and international events bring to us all.
This selection from many more works in 2D and 3D produced during the last year and a half has been my visual response to recent events. Some of that response has engendered a feeling of why not just push this idea to its limits and take the risk!
At other times I didn't know what I had or what I could do with an expression or a way of working until I did it.
The show features Turner's bone china tableware and garden pots, perspex jewellery by Loudware and lampshades and pictures by Hilary Grayson.
As well as showing my work, I'll be running two workshops demonstrating creative mold-making, exploring the dynamic potential of positive and negative.
The exhibition is on from 18th to 27th August, from 10am to 5pm.
The mold-making sessions are on Sunday 19th and Sunday 26th at 11am.
Drawings, prints, sculpted ceramics and found objects all feature, collide and meld in this show of recent work. I feel that I am evolving a new visual language, which can be used to express and explore a world of ideas, change and renewal, of our connectedness to materials and their physical and emotional resonance.
This film was made with the intention of shining a light on a body of new work, which brings together various modes of expression, drawing, printing, found objects, ceramic sculptural form, and a crude sensual use of clay.
This way of working is new to me coming after a long period of making and exhibiting internationally work centred on a series of minimalist, painstakingly-made, ceramic sculptures. It also introduces the spoken word, titles and labels and another visual angle and thus
interpretation on what I was able to do in the space.
The instinctive expressions of the freely made ceramics, challenges what has gone before and indicates the possible marriage of modes of working. It is about opening up and expansion.
Dee Honeybun recorded a series of interviews with me at the time of the exhibition.
I've been working with ceramics for a long time, actually and with one material and it's the material I emotionally respond to.
When you look at the work in the exhibition you'll see that actually there are really 2 different groups of work but they are related as well. Some of the work has got a strange name, liminal which means something is on a threshold, it could become something else and the other work is called -gen which I hope, when you look at the work you'll actually see it means something in relation to things like to generate something, to create something and it's really about life, you know, it's really about how life becomes, it changes, becomes something else all the time, we can never actually stay still, even in our lifetimes, all our cells change.
The show I think is interesting, it involves different people at different stages in their careers and I think that's part of the debate that could come out of this exhibition is what will be the future for ceramics, you know what's going to happen?
Education seems to be in a state of flux. We're at a stage where digitisation seems to be taking over in all forms of life and yet I think it's really important that we keep in touch with materials and being able to develop ourselves as much as the objects that we make through a knowledge and understanding of materials.
Interivews with the other artists can also be found on YouTube: