For each iteration each participating member invites someone new to be involved, either working collaboratively, in response to one another, or due to their specific take on the subject. This approach creates an evolving network of makers, encourages dialogue, and maintains a fresh outlook, creating a new dynamic through each distinct endeavour.
Bonnie Kemske creates ceramic forms that are complete only when they are held. Cast by the human body, they are finished in soft textures that entice our sense of touch. Bonnie aims to give those who interact with her artwork a positive and calming experience. One person said, ‘As soon as I fit it to my body and found a place where it was comfortable, it didn’t feel cold or hard anymore. It felt as if I was hugging an extension of myself.’
Laura Ellen Bacon
Laura Ellen Bacon’s large-scale installations are almost always built on site, allowing her to form work in a way that truly fits a site. The sculptures that she makes have a closeness with a host structure or the fabric of a building; their oozing energy spills from gutters, their ?muscular? forms nuzzle up to the glass and their tripping weave locks onto the strength of the walls. Whilst the scale and impact varies from striking to subtle (sometimes only visible upon a quizzical double take), Laura relishes the opportunity to let a building ‘feed’ the form, as if some part of the building is exhaling into the work.
Annie Turner’s ceramic art is closely linked with the river Deben and its surrounding environment where she grew up in Suffolk. Her sculptural ceramics are hand-built stoneware that appear rusted from having been fired once, twice and sometimes on more occasions, and their surfaces are thickened and coloured with oxides and slips. Turner’s sculptures are delicate yet possess a quality of strength that suggests movements of currents and the tides of the water, changing seasons and the passage of time.
Giles Macdonald is a letter carver working with slate, stone and other materials. Giles designs and makes inscriptions ranging from plaques and tablets to architectural lettering. More than just texts, inscriptions describe experience, and their appeal lies beyond the words used. We sense this when we’re attracted to inscriptions we can’t read and whose language we don’t know. A linear text reflects the horizon in front of us. Inscriptions become a way of exploring the wider world and an acknowledgement of being alive.
Shelly Goldsmith engages with textiles within gallery and site-specific contexts, often responding to historical environments. Using methodologies and theories borrowed from forensic or psychiatry partnerships, she explores and presents latent experience and memory inherent in worn clothing, especially examining the fine veneer of cloth that stands between us and the world; often a veil to the interior storm.
Listening carefully to the stories the reclaimed garments present enables narrative to develop and imagining around their ability to carry memory, to absorb and reflect experience. These garments are often presented as a metaphor for common human states and present opportunity for self-reflection and personal insight.
Henry Pim’s small sculptures suggest maps, plans, or graphs, (all ways to sort and present information), and they also show an idea of a structural framework, like a building or an engineered structure. They are made from panels of extruded paper clay, using a technique, which continually mutates, revealing ever more possibilities. An important driver for evolution of the work is this technical unfolding.
This work aims to engage with the ‘making-sense-of-it’ mindset, which is a default mechanism for humans, and is at the heart of intelligence. The way we see the world depends on how we process the information that we are able to understand. The way that we contribute new things in the world depends on how we select the information that we employ. The way we feel about the world depends upon what we think it is and, most importantly, what we expect it might become.
Working predominantly in installation, ceramic sculptures and collaborative projects Gail Mahon often draws focus from body theory; of bodies becoming and in constant state change – unmaking and remaking, unfolding permutations of the physiochemical, organic and anthropomorphisms wrapped up material culture to make speculations of emerging changes to environments and ourselves.
Her practice utilises knowledge of the ceramic process with found object interjections and material experiments to result in kinetic interplays and physical actions to unfold the process of transformation within her installation, photography and experimental studio films as unsettled arrangements, hovering and shifting. Mapping those disparate fragments of new and ancient landscapes – clay and ceramics reform to become carriers of the collapsed social and political spaces caught between the natural environment, post-industrial landscapes and our domestic situations of our own construction.
David Gates designs and makes furniture from his studio in South London. His workbench looks across to the wharves, jetties, and silos of the river Thames; part of a landscape of industrial and agricultural architectural forms that inform his work. The rightness, balance, and expediency seen in these structures comprise a vernacular, one reflected in David’s use and adaptation of traditional, deliberate hand-making processes.
David was awarded a doctorate in Language Discourse and Communication from King’s College London for his phd thesis examining the relationship between craft and language. His research focussed on normally unnoticed and unremarkable narrative fragments in spoken discourse. His findings shows the work that locally-relevant talk does in craft practices, questioning the normative view of craft as tacit and silent