Click here to view the gorgeous Rough Stuff Catalogue: https://issuu.com/cavinmorris/docs/rough_stuff_catalog_1
Joining Cavin Morris Gallery has widened my horizons enormously. The timing was perfect. For many years, while I was finding my place with clay, I had rarely looked at other art. My focus was studying aspects of the natural world and experimenting with the language of form. When Randall Morris contacted me I had just started really getting into seeing new art on social media, was settled into a spacious new studio, had lurched through one of those health dramas that gets you right in touch with the essentials, and was getting drawn into the powerful, mysterious beauty of The Brecon Beacons National Park, our new home.
The incredible exhibitions they put on at Cavin Morris, beautifully presented, are fascinating, engrossing, challenging and awakening. Randall Morris and Shari Cavin are geniuses at finding artists who are totally involved and living in their making. They are experts in their field and very interesting. Read anything they have written, it will be enriching.
They got me reassessing why people make their art and what really matters about people looking at and living with art. There are lots of answers to that and you need to find yours. There is a spectrum and it is not hierarchical. It’s important that there is variety so that we have non-verbal communication for every aspect of our lives.
This link will take you to a fab page of past exhibitions at Cavin Morris where you can see the variety of astonishing art they show: https://wsimag.com/art/46537-the-fire-within
Through the Gallery I now have a network of creative friends that inspire, support and challenge me and share the courage to really go for it. My sculpture has gained immeasurably. It has been set free and has far more to offer the people who find it.
Cavin Morris never interfere with what you are making. They watch and study, listening to the rhythms. They see connections between art works so that their Exhibitions are conversations. Like a concert of fabulous music they enfold you and you become part of it all.
As with all their excellent blogs the following has a great selection of beautiful, evocative images and the text is really interesting. I was over the moon to see this write-up and be part of this particular show: it says everything I hope I am doing.
ROUGH Stuff: A Celebration of WILD Surface (April 25 – May 25, 2019
Eugene Von Bruenchenhein
ROUGH STUFF: A CELEBRATION OF WILD SURFACE
April 25 – May 25, 2019
The title, “ROUGH STUFF” is a deliberately ambiguous play on words. The viewer might immediately expect an exhibition of wood-fired ceramics with great accumulations of ash, imbuing the surfaces with chthonic primordial landscapes. And yes, viewers will find some of that rich technique in this exhibition, but in fact, we had something else in mind.
We live in cynical times. In cynical times the first concept to be sacrificed to the beasts of dogma is most often ‘beauty’ or ‘grace’. To us, beauty makes rough and exquisite demands that the onlookers slow down and, however briefly, give themselves up to its call. Beauty becomes a warrior in a performance reaching back to archaic times.
We want the clay to live in this exhibition. It is common to link sculpted clay to landscape, but landscape is changing all the time right in front of us, especially now. Landscape is umbilically linked to Place, and the art that Cavin-Morris Gallery shows, from Art Brut to ceramics (sculptural as well as tea and sake), to ethnographic, has always been closely tied to the myriad ideas Place awakens in the artists’ mind. That vision of place runs the gamut from untouched and euphoric to dystopian.
That is really mean by ROUGH STUFF: a celebration of wild surface. It is an exploration of the idea that never has earth, air, fire and water been more interactive with our daily lives than now.
Like the tensed horse head in Picasso’s Guernica, our earth in all its beauty and ugliness is screaming to be heard. Through the translations of visionary artists, we can always hear its real voice.
Sculptors who use clay work with the raw essence of the planet that most of us take for granted. We wanted special work for this exhibition, and we found them, created by the remarkable artists we have shown for years, and welcoming some amazing sculptors we felt would augment the vision.
We deliberately chose to emphasize the non-utilitarian aspects of their creations, with very few exceptions. The artists experiment with local clays, they display edgy aesthetics, obsessively working surfaces both in naked clay and glazed, without losing their basic respect for the clay body.
For additional information please contact email@example.com or call us at 212-226-3768.
This stunning Exhibition is part of a series run by Cupola looking at art and our relationship to the environment. I could not have been more pleased to see my sculpture thoughtfully and expertly set with gorgeous paintings from 3 outstanding artists.
Cupola Contemporary Art’s award-winning Gallery is one of the UK’s most established. They are welcoming, friendly and hugely helpful. No heavy selling or rushing. They will give you knowledgable guidance and support to help you find the art-work that really speaks for you. It is clear they are genuine: they love their gallery and the creative process. There is a wide choice of materials, styles and prices including beautiful unique and affordable gifts like un-framed drawings or prints and jewellery.
Cupola looks after their artists so they get our very best work. They encourage us to take risks, try new things but they never push for ‘sellable’. With their very loyal, customers are looking for sincere art, real communication.
“Cupola Gallery brings together 4 artists who deal with landscapes. The exhibition will feature 3 painters and 1 sculpture. The 3 painter’s distinct styles embody a meteorological exploration of the landscape shifting moods and seasons fluidly from painting to painting. The painter’s fluid approach is complemented by Rebecca Bucks almost geological sculptures, the predominantly black and white ceramics embodying the land itself.
Paul Evans takes inspiration from the modernist canon of Abstract Expressionism and Art Informel. Paul work explores aspects of our physical and emotional relationship with nature something that he consider to be ‘a complex response to a complex field of interactions’.
Alison Tyldesley’s work aims at capturing movement, intense light and atmosphere – particularly glowing horizons, wild skies, receding hills and textured foregrounds. Her paintings are not always depictions of a particular scene, although she cannot help her work referencing the peak district she immerses herself in.
John Bainbridge practice is strongly rooted in the Northern Pennines. The rich colour and texture of the land is enhanced by the Pennines’ unique quality of light and the atmospherics of seasonal wind and weather. The paintings try to reflect the close contact he has had with the land through fell running in all conditions, day and night!
Rebecca Buck’s sculptures deal with the landscape on a geological and spiritual level. Fascinated by climate change Rebecca’s ceramics are a combination of roughhewn textures and polished smooth surfaces, as if the clay had been less formed by hand but from the erosion and weathering of the elements.” Karen Sherwood, Cupola Gallery Owner.
I have 14 sculptures in this inspiring, intense Show including new pieces hot out of the kiln that I havn’t photographed yet.
There are lots of variations on the Coil-Building method. I started out as a Coil-builder 34 years ago and I still turn to it regularly. All my monumental brick sculptures are coil-built. It’s all about understanding the clay and how joins are actually formed.
At this fun and very informative Workshop I will teach you my method and explain why I do it this way, including my scintillating views (rant) on slipping and scoring. We’ll start a planter and cover different clays and scales, the use of supports, adding carving and scale models. Everyone, from complete beginners to professionals, sculptors, modellers, teachers and potters will get a lot out of this day.
Bring something to share for a relaxed lunch where we can chat and exchange ideas. I’ll have tea, coffee, juice and cake ready for you.
If you want to take your planter home to finish it, it will cost £1.50p/kg or I can just recycle everything after we have photos. I’ll take pictures during the day and do a step-by-step post about the Workshop.
For directions and more info about the Studio click here.
To see an over-view of my work click here.
To see what else might be useful for you on this site cluck here.
To see how to coil-build on a monumental scale click here.
A key factor of South Wales Potters is generosity. For 50 years SWP has been a platform for sharing skills, equipment and opportunities not only amongst members but with anyone we can. Every 2 years SWP, North Wales Potters and Aberystwyth University throw Europe’s biggest clay-party the International Ceramics Festival. I’ve been before, working, but this time lovely SWP members Phil Hughes and Kay Milward gave me a ticket and a room and I was free to wander from one fascinating, challenging, eye-opening, reassuring, encouraging lecture, demo, and conversation to the next. And then SWP Cocktails with Mary Cousins and dancing!
There was kiln building and firing.
Helen Walsh from York Art Gallery gave a really interesting talk about the new building and plans for their Centre of Ceramic Art, a fabulous new extension to the Museum opening this August. It’s especially great to see that happening in these pessimistic days. It is going to be wonderful, with imaginative exhibitions, a selling Gallery, a working studio, archives, an educational program and academic research.
One of the high-lights for me was the Emerging Makers presentation. A very diverse and inspiring group of young people were hoping to go on a Residency at the awesome Archie Bray Foundation in the USA. I was so pleased when Lanty Ball was chosen. His committed, thoughtful and sensitive approach to craftsmanship and expression was a joy to see. His pots are very beautiful.
The atmosphere at the closing ceremony was very warm, a thousand clay-people loving the work they are dedicated to and respecting and celebrating their peers.
Being invited to join this beautiful, sensuous, soul-reaching collection made my day. Some of my favourite Ceramists like Melanie Ferguson and Monique Rutherford show with Cavin-Morris Gallery. Their introduction to their site made my week;
“Cavin-Morris Gallery has been exhibiting world artists for 30 years. We specialise in the work of self-taught artists whose work is made independently of the art world canon yet participates equally on the wall or pedestal. We represent the new generation of self-taught artists whose work remains authentic and visionary while representative of contemporary times. We also feature important works from preceding generations of self-taught artists including Jon Serl, Bill Traylor and Emery Blagdon.
We show an eclectic selection of tribal art from all the major regions of the world focusing on the unusual and the formally surprising.
Another focus is on textiles of the world, including South East Asian costumes an textiles including tribal China, and Japanese Boros: futon covers made over a period of a hundred years from cotton patches and threads.
Our newest department is a developing interest in Contemporary ceramics both functional and non-functional. We are especially interested in the way ceramists push the envelope of traditional form sand cultures. We show Western ceramists as well as Japanese, Chinese and Korean work.
The common thread that connects all this art is its uniqueness, its integrity and authenticity, and its reflection of cultural home-ground. The Contemporary artists we represent extend the continuum established by the self-taught and Tribal artists into a new and exciting multi-tiered arena.”
This article explains it perfectly; ‘A Chelsea Double Feature; Paper Meets Clay On “Homeground’s” Turf’ by Edward M Gomez.
View the stunning Catalogue here.
This is a selection of images taken by Cavin-Morris Gallery. Go to the Gallery site to see more beautifully presented photographs of these Artist’s pieces and the other astonishing work by the Artists represented by this exceptional Gallery. The links from each name here on this post will take you to more information about each Ceramist. I will add more images as I get them.
The Albany Gallery is one of the UK’s most established and respected galleries. Collectors keep an eye on them because they have a great track-record for showing new treasures.
South Wales Potters is one of the largest groups of professional and hobby potters, ceramicists and collectors in the UK. Members are based all over southern Wales, England and some abroad. They are involved in putting together Europe’s premier ceramics event, the International Ceramics Festival held every 2 years at Aberystwyth University.
The Albany’s Summer Show is always fresh and wonderful. They have an excellent variety of 2D Art set off beautifully by ceramics they have selected from South Wales Potters. The staff at the Albany Gallery are lovely- very knowledgeable about the work they show, friendly and very approachable.
Thanks to Daniel Buck for the Photographs.
The key reason making heads is so hard is that the perception (the way we use our knowledge) that we have built up over our lifetime of what shape the head is, is based around communication and assessing each other. Making a head requires going against what ‘feels’ right and using information we are unlikely to have bothered with before. Portraiture has a system to organise the huge quantity of subtle details. Learning this system will broaden your knowledge, and your access to more knowledge, enormously. That’s why the study of Portraiture and Figurative Sculpture is traditionally the bed-rock of Art.
It is not rocket science and you can do it. The challenge will be fascinating and very rewarding.
Because clay shrinks as it dries and is floppy when very wet a Clay Armature is invaluable.
Most techniques for building hollow have a strong ‘voice’ of their own and will influence the final look of the piece. They can demand that you harden lower sections and are then unable to change them when you later realise they are wrong. This is a real disadvantage irregardless of your skill level. It is better to work solid over a clay armature especially if you are not using a scale-model and hollow out just before finishing touches. It’s not difficult.
Or you can use this technique of building out from a Clay Armature to make your sculpture hollow.
Here I chose to leave gaps that show the Armature but of course you don’t have to. The step by step manner of this method and the fact that you work all over the head in layers from the start makes it ideally suited to learning to make Portraits and other Sculpture.
These Armatures or ‘frameworks’ were planned to be very much part of the fractured image. But the ‘corrugation’ and circular holes you can see are strengthening the Armature and would be very suitable to an armature that would ultimately be hidden. Playing around with these Armatures lead the Sculptures in un-anticipated directions (I frequently have no idea what I’m doing, just why!)
In this Workshop we will build a strong Armature, work on the Skull loosely for the benefit of looking at that and then build on the external features of the head; the face, ears, hair etc.
We’ll cover Hollowing out too. You will get my invaluable tirade on joins. We’ll look at some different clays and talk about choosing clays. And we’ll sit down to a relaxing bring and share lunch in true South Wales Potter’s Tradition and talk shop. There will be drinks available all day.
Everyone, from any level of experience, is welcome and will get a lot out of this challenging week-end.
The Fee is £130 which includes 25kg of Scarva Crank (an out-standing sculpture clay), a set of sculpture’s callipers and set of Skull and Skeleton images. The Workshop is to give you the Techniques so that you can develop your own way of using them. Just like learning to play an instrument, practice and adding your own style will give you the results. You are unlikely to complete your head on the week-end and I will encourage you to take it home to work on or break it down and have the clay to use on your next head where you can work more slowly. I can fire your sculpture if you like and we’ll sort that out separately.
It is easy to get here and there is plenty of Parking and the Studio is not bad for accessibility.
This time Steve (http://www.stephenfootephotography.co.uk) wanted to make sure that as well as a set of beautiful images each,
we also all left with the understanding of how to use house-hold items , our own cameras and versions of Photo-shop to get quality photos of our work regularly.
We all participated in the making of images of each other’s work and there was a great level of discussion and evaluation of what we are all doing.
As well as keeping the cost down (each person paid £40), one of the benefits of these collective Shoots is seeing your work through the eye of the Camera and of your peers; you spot flaws and successes that you might miss alone in your Studio. And it is always very encouraging to be with like-minded people. We agreed not to sugar-coat our feed-back and between us we had a great deal of expertise. The day was really interesting and inspiring.
Having a wide range of work materials amongst the group meant more questions and solutions were flagged up.
Here is a selection of my favourite images.
Getting affordable, top-quality Photos of your work can be a nightmare but it is essential. In Osprey Studio’s second open Photo-Shoot TV Cameraman Stephen Foote (http://www.stephenfootephotography.co.uk/) will talk you through the images he takes with his posh (very) camera and also guide you to take good images with your own camera using ordinary ,domestic accessories and lights. It will be an intense day ( do bring a note book) but very rewarding. You will get a minimum of 6 publishing-quality images in digital form to use in any way you want and the pictures you take yourself. And you will go home with a good understanding of how to improve your photography in your own Studio.
We will start at 9.30 am. Bring something to share and we will have a relaxed Pot-luck lunch and there will be tea, coffee, or soft drinks available all day. I learnt a great deal last time talking shop with the other Makers. It was a lovely day.
Let me know as soon as possible approximately what work you will bring so we can be well prepared.
There is parking right in front of the Studio. For info and directions click ‘Visit The Studio’ to your left.
There are only 6 places so do book early.