Climate Change Gardening

Found Gallery, the sensational contemporary art gallery in Brecon, Wales complimented the gorgeous exhibition, Found In The Garden with a series of talks. I was invited to have a conversation with the incomparably wonderful author and forager Adele Nozedar about Osprey Studios Sculpture Garden (which had just been selected to be part of the National Garden Scheme for 2020), climate change and where this is taking my sculpture.
Punch Maughan and her kind, thoughtful Team made the beautifully lit, spacious gallery welcoming and comfortable with tea and delicious cakes. A lovely, really interesting mix of people came along and the discussion was fascinating, thought provoking and very helpful.
Osprey Studios is at the foot of Cribarth, The Sleeping Giant Mountain, in the extraordinary Fforest Fawr UNESCO Global Geopark.
Gardening to fit in with the wild-life in your region really makes a difference. In a wide open, often harsh environment like the Brecon Beacons offering wildlife shelter, homes and food counts, especially when seasonal changes are messing with their usual routines. Artist/Gardeners Karin Mear and Nigel Evans at The Happy Gardeners know the area intimately and along with others in the group described the long, dramatic evolution of this land that reminds us that the Natural World changes constantly. But usually it does that very slowly.
Cribarth creates a boundary that holds wild, harsh weather largely on this side of it’s ridge. Just over this horizon, less than quarter of a kilometre away, is Osprey Studios, protected in a much warmer, milder micro-climate with the southern face acting as a sun trap all year round.
Walking out due north from Cribarth across extraordinary geology laid down by a warm sea and then exposed again by glaciers.
Breconbeacons.org : “The carboniferous limestone of South Wales was formed in shallow tropical seas in the Paleozoic era, over 300 million years ago. Much of it is of organic origin, being the shells and skeletons of sea creatures, large and small. Amongst the most spectacular fossils to be seen in the National Park are Lithostrotion corals. Their intricate internal detail is often beautifully preserved.”
Half a kilometre due south is where the wonderful Nant Llech, a very import river in my work, meets the Tawe that runs down to the coast 20 miles away at Swansea. Further up stream is Henrhyd Falls.
Petrified Stigmaria – Lepidodendron (Scale Trees) Root structure. This tree went extinct about 250 million years ago, many of them decomposing into coal and oil.
Walking the Llech’s bed when the water was very low a few summers ago I started finding and collecting petrified wood and other fossils. This fabulous one is in a big boulder. It feels incredibly lucky to see fossils that, as the river rages, will be washed down stream and might never be seen again.

A young Mare’s Tail next to it’s petrified relative that I found near-by.


Indefenceofplants.com: “As atmospheric CO2 levels plummeted and continents continued to shift, the climate was growing more and more seasonal. This was bad news for the scale trees. All evidence suggests that they were not capable of keeping up with the changes that they themselves had a big part in bringing about. By the end of the Carboniferous, Earth had dipped into an ice age. Earth’s new climate regime appeared to be too much for the scale trees to handle and they were driven to extinction. The world they left behind was primed and ready for new players. The Permian would see a whole new set of plants take over the land and would set the stage for even more terrestrial life to explode onto the scene.
It is amazing to think that we owe much of our industrialised society to scale trees whose leaves captured CO2 and turned it into usable carbon so many millions of years ago. It seems oddly fitting that, thanks to us, scale trees are once again changing Earth’s climate. As we continue to pump Carboniferous CO2 into our atmosphere, one must stop to ask themselves which dominant organisms are most at risk from all of this recent climate change? “
There are lots of Ash trees along this gorge and most have reticently died from Ash Die-back. There are log jams all along the river and landslips revealing fossils and petrified wood from the mass extinction event millions of years ago. The shiny black fossils are very nearly coal. The geology changes just enough only a mile away that coal did form.
The wet meadow behind Osprey Studios sculpture garden on our side of Cribarth, The Sleeping Giant Mountain . The hedgehog hotel is here too and hedgehogs enter the garden under the gate.

So the earth has changed drastically many times. You feel close to that here in the Brecon Beacons. It has all lead to the beautiful natural world that we know now and that we thought we could control and keep as ours…
This new, massive Climate Change and mass extinction is happening with devastating speed and we understand it: there is no way to sugar-coat it, it is our doing. We can predict what course it is likely to take and plan…
Humans are not innately destructive. Like many cooperative species that live in communities we are very busy. VERY busy…And that busyness can be turned towards cleaning up a lot of this mess.
Will our entirely justified grief, guilt and anger eclipse the beauty, joy and wonder that is still here feeding and sustaining us? Will despair fracture our communities and render everyone helpless and vulnerable? Except for those few profiteers who don’t or can’t care?
Believing we are a toxic force ruining everything we touch is a great excuse to do nothing. But we owe our fellows in the natural world better than that.
Leviathan II, 2015, 53cm H x 79cm L x 36cm D, ceramic.
Watching and re-watching geologist and fabulous educator Dr Iain Stewart‘s programs has helped me get my head around it and that lead to the ongoing Throwdown at the Hoedown Series which has just reached one of those turning points and I have been unsure what comes next. The discussion lead to this:
Eleanor Greenwood (who takes some of the most incredible photographs of this area which she knows extremely well): “My final thing that I wanted to say is that we are coming full circle back to the realisation that we are all nature. Our thinking that we are separate has hurt us in more ways than we realise. Your work is a big clear pointer back to that unity. There is sacredness and magic everywhere and you manifest it. I really enjoyed this eve and thank you for making me see climate change in a different light.”
Flabbergasted/very grateful me: “You are exactly right! And I think you have pinpointed the missing piece that I couldn’t see; the spheres, for want of a better term, are reaching out to us, taking forms we can relate to, but what are they saying? That!! Perhaps it’s just that…return to us while you still can….”
Gardens so often bring us together for the conversations that make all the difference.
Guardian of the Biosphere. The interior of this sculpture has spaces for wild-life to live.
Developing my garden over 11 years from a plain lawn with some old, hard features like the cement paths, patio and the deteriorating wooden stable has also changed my thinking enormously. I first put in the lupines and flowers you can see below and it was beautiful! No-one was more delighted and impressed than the slugs from the meadow at the end of the garden. After one terrible battle with them I saw this was not the fight I was willing to take on.
Joining forces with the rest of nature we can share the challenges of Climate Change. You can grow food to share with the other people in your community of wildlife and human neighbours, right down to those in the soil. The garden here is now full of fruit trees, bushes, a variety of strawberries, local wild flowers (slug-proof, bee/bug friendly, beautiful) and cultivated plants that can co-exist happily. Most of the grass has gone and now there is flowering low ground-cover, like cranberries.
There are lots of bird-feeders. And compost bins. You start feel like part of the solution and bit less like part of the problem. Individually we can’t stop the change. But we can make amends as best as we can and ride the wave with grace.
All of nature has always had those who’s role is taking risks; trying out new habitats or times to flower, grow, mate or migrate. It seems very fair that we should make safe spaces for them and help with food and shelter if we can. Forestry Studies have found trees have been migrating in new directions for 50 years. One of my blueberries put out a few flowers this autumn, testing the chances…
This beautiful Acer was a special present to my self for being unexpectedly brave during one of those events that sharpen one’s appreciation of life. Our gardens can become a record of what matters most to us. This tree then taught me about choosing the right spot and not being afraid or reluctant to move unhappy plants. Or to give unusual plants a chance to make their home here.
Here’s a fabulous bit of drama and a tribute to the tropical past of this land. (And to mine: my eldest was born in Malaysia.) And a hint of the future? Changes in the Gulf Stream and other currents are happening now and it’s not clear what the implications are for the western UK. Right now it’s amazing that such a plant will grow here. (I transplanted the Torbay Palm across the garden from a hanging basket thinking it was a grass! It’s 6 metres high now and growing fast!) The interaction with the wild flowers is beautiful : this palm provides support and shelter all year round to a very long-stemmed wild flower that all sorts of insects adore on the edge of the pond. Gardening gets you looking to the future. Slow growing, long lived plants expect to face challenges and can be extraordinarily adaptable which is very inspiring.
Across the meadow at the end of the garden you can see the stand of huge Ash trees on the lower slope of Cribarth that have succumbed to Ash Die-Back. They have started to fall causing a landslip on the edge of a mountain stream and creating a beautiful new waterfall. After heavy rains the water has chosen a new route leading right to where a drainage ditch passes our gate and giving our patch a new shallow pond which fills with tadpoles and sustains other creatures. A few miles east another group of Ash are being watched because they seem to be immune to Die-back.
The movement of water is absolutely key.
This shady corner is full of wild life. All the sculpture plinths are hollow and provide homes for all sorts of people. The ground is always damp and often very wet. Just behind the sculpture is an apple, a pear and some blueberries bushes planted close together like I’ve seen in the woods by the river. They didn’t look too happy at first but a few years on they are taking off and I’m assuming that is because they have befriended each other underground. I had read that if you need a continuous supply over the season rather than big crops then close, varied planting is a good idea. Raspberries love this spot so I weed them out occasionally. A variety of cranberry plants have definitely taken and are quietly spreading among strawberries and various wild ground cover which I clear back sometimes to favour the cranberries but I get the impression they like the company. Everything seems happier with lots of other plants around them. Even my house plants do way better in mixed pots.
Anything cleared out of or from the edge of the pond is left on the side for a few days or tucked into the near-by bed so creepy crawlies can get back to the water.

We started the garden when we moved here in October 2010 with beds marked out with old carpet from the house left over winter and the pond put in the following spring, as recommended. I was so proud watching my sons dig it and it gave me some insight into the ground: 60cms of lovely dark soil down and then clay and big stones. We put in a good, flexible liner and two oxygenator plants and mini water lily. In no time at all it was full of life. Lots of newts, frogs, toads, dragon flies, water-snails (how?!), all sorts. Between them, the hedgehogs, birds and the huge predatory slugs the plant eating slug numbers have begun to balance to the point where the invaluable work they do for the soil offsets limiting what I can plant. Just like they promise on Gardener’s World.
Rae Gervis is an expert gardener growing extraordinary vegetables at Ty Mawr near Brecon. Every week you can order seasonal vegetables from them. Rae had no trouble persuading me not to dig my soil. But I hadn’t expected the results to be so good.
Rae explained: “Soil is the foundation of all life so needs to be nurtured. Soil vitality & biodiversity needs to be protected. Worms and other micro & macro-biota distribute air, water & nutrients far more efficiently & effectively than man can through digging. Mulch with any organic material, preferably well rotted. Soil is then insulated & protected from the elements. Slugs are a good food source for many animals including hedgehogs & they do break down organic matter making it available as nutrients in the soil.”
Building and fencing materials tends to involve horrendously un-green production methods. So we use recycled stuff and make things last where ever we can. The old fence enclosing what was a little pony-yard leading out to the meadow is rotting so I’ve woven a cotoneaster around it to replace it with a living fence which is now much higher and covered in berries. I had found the plant in a container in the hot front garden looking small and wretched when we moved in and I had no idea what to do with it. I plonked it in a stony hole and apologised. It has grown so fast!! Weaving it into flowing shapes is extremely fun.
This area is a cabin and patio now. Before it was a stable, before that a fabulous green house. I would love to pave it but it would be daft, wasteful and the layers of history would be lost. The old cement ground is worn and the mosses soften the look of it so I encourage them instead. Same with the rather rigid cement paths and patio by the house.
This area was plain grass and extremely dry. It used to get very hot out here and so did the house. This planting quickly changed that. The fallen leaves and shade have improved the exhausted soil without me having to do a thing.
Evergreens are gorgeous all year and great for the front garden. They support the flowering climbers. And now it’s important to have flowering and/or fruiting plants and ever-green shelter for the creatures that may end up out and confused in mild winter spells.
There are berries at the lower levels, strawberries, raspberries, black currants and gooseberries. Now that it’s moister I might move some of the cranberry’s runners here.
I let all this grow in to see what it would do and I don’t mind admitting I wasn’t expecting it to be so lush! Recently we put in supports and some structure to the look of it.
When it was un-planted the house paint was getting fried and falling off the render. A number of my neighbours were having to replace their blistered render at the time so we decided we had better strip off the old paint and re-do it. In the back was a big Virginia creeper and the old paint under it was in much better condition!
Now the house is cool and comfortable all year round. The soil stays moist and I leave the falling leaves which quickly disappear into the ground thanks to the healthy wild-life. There are toads and lots of birds. Some are even nesting, glad that the street deters predators. I also find the sense of shelter very comforting.
This very heavy, old gate came from the wonderful Theodore Sons And Daughter Reclamation Yard in Bridgend. Stripping and re-painting it took forever but it feels so great when you swing it open.
This is the front patio which I never used before because it was broiling hot. The french doors lead into the Studio where I had to protect sculptures in progress from the heat. Now the vines form a roof and the light falling through it is exquisite. The purple-leafed grape vine stated clearly that it was ornamental and would not fruit but it does! There is jasmine, wisteria, roses, and an ever-green clematis amongst others so it changes and has beautiful scent.
Sweeping regularly keeps the weeds out from between the bricks and gives me a good excuse to go out there and revel in it. There is no joy to be had from herbicides and pesticides.
Gardening with a sense of purpose.
We are coming full circle back to the realisation that we are all nature. Our thinking that we are separate has hurt us in more ways than we realise.
We are being called to turn back to our natural world while we still can.
When all’s said and done it’s about Community.
Sharing with all our fellows, all the neighbours, great and small, whether we like them much or not, because we need each other. A garden reaches out from your home as much as it sets a boundary or shelters it. It creates links and bonds.
Gardening is a gentle, patient, subtle weapon in a battle we are better off for fighting. Our gardens become a record of, and a contribution to, what matters most to us.

Osprey Studios Sculpture Garden is proud to be open by appointment with The National Garden Scheme to raise money for the Nursing charities that were their for us when we needed them.

ROUGH Stuff: A Celebration of WILD Surface (April 25 – May 25, 2019) at Cavin Morris Gallery, New York.

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.

Image may contain: 2 people, people smiling, closeup
Shari Cavin of Cavin-Morris Gallery: “So the question becomes: How can we use self-taught artists’ biographical information? For, after all, familiarity with it can enrich our appreciation of their art. Self-taught artists create in spite of life’s obstacles. Their art-making may be seen as an act of courage in the face of life’s harshness. There is an undeniable moral influence that self-taught artists exert on trained contemporary artists. Their message: Stay true to yourselves.” 

Randall Morris: “This field may be seen as part of the broader contemporary-art scene but it doesn’t play by its rules. Critics and new scholars constantly try to chop the body to fit the bed, but this art has its own intentions and its own rules.”

“Outsider Art: Then, Now Tomorrow” by Edward M. Gómez in Raw Vision Magazine 93

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.

http://www.cavinmorris.com/blog/2019/5/11/rough-stuff-a-celebration-of-wild-surface?fbclid=IwAR2zfcUnfIdcM31sumW_3EgSyQIwRNDhsC_rVvTAFnsyL2S-Hf0VnCJ_r4o

ROUGH Stuff: A Celebration of WILD Surface (April 25 – May 25, 2019

Ashwini Bhat
Rebecca Buck
Melanie Ferguson
Peggy Germain
Mitch Iburg
Yukiya Izumita
Mami Kato
Lucien Koonce
Eva Kwong
Sandy Lockwood
Kirk Mangus
Lesley McInally
Freeda Miranda
Andy Nasisse
Rafa Perez
Sara Purvey
Chris Rond
Tim Rowan
Monique Rutherford
Jeff Shapiro
Avital Sheffer
Eugene Von Bruenchenhein
Mike Weber
Jane Wheeler

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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 info@cavinmorris.com or call us at 212-226-3768.

  Ashwini Bhat  Garden of Earthy Delights  , 2019 Fired clay with feldspar and natural ash 4.5 x 5.5 x 5 inches 11.4 x 14 x 12.7 cm ABh 1
  Chris Rond  Fusion 2  , 2018 Ceramic 3 x 6 x 5 inches 7.6 x 15.2 x 12.7 cm CRo 5
  Ashwini Bhat  Garden of Earthy Delights  , 2019 Fired clay with granite and mud dauber nest and natural ash 6.5 x 6 x 4 inches 16.5 x 15.2 x 10.2 cm ABh 2
  Eva Kwong  AMALI  , 2019 Stoneware, colored slips, underglazes, glazes 21.5 x 11 x 11 inches 54.6 x 27.9 x 27.9 cm EKw 1
  Ashwini Bhat  Beginning is the End  , 2019 Fired clay, with glass and garnet media and underglaze 8 x 3 x 7.5 inches 20.3 x 7.6 x 19.1 cm ABh 3
  Eva Kwong  ARIRI  , 2019 Stoneware, colored slips, underglazes, glazes 21 x 14 x 15 inches 53.3 x 35.6 x 38.1 cm EKw 2
  Ashwini Bhat  Beginning is the End  , 2019 Fired and painted clay, with glass and garnet media and glaze 7 x 7.5 x 4.5 inches 17.8 x 19.1 x 11.4 cm ABh 4
  Eugene Von Bruenchenhein  Untitled (crown)  , 1950-1980 Painted Clay 4.5 x 8 x 7 inches 11.4 x 20.3 x 17.8 cm EV 45
  Ashwini Bhat  Origin of Species  , 2019 Fired and painted clay with natural ash 22 x 12 x 7 inches 55.9 x 30.5 x 17.8 cm ABh 5
  Eugene Von Bruenchenhein  Untitled  , 1960-1980 Hand dug clay and paint 10 x 5 x 5 inches 25.4 x 12.7 x 12.7 cm EV 46
  Ashwini Bhat  Alive Series  , 2019 Fired and painted clay with glaze 6.5 x 9 x 6 inches 16.5 x 22.9 x 15.2 cm ABh 6
  Eugene Von Bruenchenhein  Untitled  , 1960-1980 Hand dug clay and paint 7 x 4.5 x 4.5 inches 17.8 x 11.4 x 11.4 cm EV 47
  Andy Nasisse  Dark Matter  , 2017 Ceramic, multi-fired with overglaze 19.75 x 21.5 x 3 inches 50.2 x 54.6 x 7.6 cm ANa 2
  Freeda Miranda  Organic 2  , 2018 Ceramic 4 x 5 x 5 inches 10.2 x 12.7 x 12.7 cm FMi 2
  Andy Nasisse  Tantra Terra  , 2017 Ceramic, multi-fired with overglaze 24 x 16 x 3 inches 61 x 40.6 x 7.6 cm ANa 4
  Freeda Miranda  Organic 1  , 2017 Ceramic 3.5 x 5.5 x 5.5 inches 8.9 x 14 x 14 cm FMi 3
  Andy Nasisse  Red Head  , 2017 Ceramic, multi-fired with overglaze 22 x 22 x 3.5 inches 55.9 x 55.9 x 8.9 cm ANa 5
  Jeff Shapiro  Shield Series  , 2012 Woodfired Ceramic 20 x 13.5 x 8 inches 50.8 x 34.3 x 20.3 cm JSh 42
  Andy Nasisse  Ear Wig  , 2016 Ceramic, multi-fired with overglaze 17 x 16 x 3 inches 43.2 x 40.6 x 7.6 cm ANa 10
  Jane Wheeler  Black Ice Flagon  , 2013 Stoneware clay with chun glaze, slab built 14.75 x 9.45 x 6.5 inches 37.5 x 24 x 16.5 cm JWh 3
  Avital Sheffer  Inannah V  , 2009 Handbuilt earthenware 26.77 x 12.99 x 7.09 inches 68 x 33 x 18 cm ASh 2
  Kirk Mangus  3 Flying Houses Ziggurat  , 1982 Stoneware, white tapies glaze (inspired by Antoni Tapies) 12.5 x 7 x 7 inches 31.8 x 17.8 x 17.8 cm KMg 1
  Chris Rond  Fusion 1  , 2018 Ceramic 5 x 3.5 x 3 inches 12.7 x 8.9 x 7.6 cm CRo 2
  Kirk Mangus  2 Skulls  , 1993 Local stoneware, paddled with artist's own carved wooden paddles, wood-fired 7 x 7 x 7 inches 17.8 x 17.8 x 17.8 cm KMg 3
  Kirk Mangus  2 Warriors  , 1993 Local stoneware, paddled with artist's own carved wooden paddles, wood-fired 8.75 x 8 x 7.5 inches 22.2 x 20.3 x 19.1 cm KMg 4
  Kirk Mangus  Aurum  , 1984 Stoneware, colored slips, salt glazed 17 x 7.5 x 7.5 inches 43.2 x 19.1 x 19.1 cm KMg 5
  Kirk Mangus  Swirling  , 1984 Stoneware, colored slips, salt glazed 15.5 x 7 x 7 inches 39.4 x 17.8 x 17.8 cm KMg 6
  Kirk Mangus  Looking  , 1982 Stoneware, gooey glaze 15 x 10.5 x 10.5 inches 38.1 x 26.7 x 26.7 cm KMg 7
  Lucien M. Koonce  Tri-Footed Hanaire  , 2017 Hand formed stoneware clay and natural ash glaze; wood fired (anagama side stoke area) for five days to c/12 8.25 x 4 x 4.5 inches 21 x 10.2 x 11.4 cm LKo 8
  Lucien M. Koonce  Hanaire  , 2018 Hand-formed stoneware clay (with native North Carolina clay) and natural ash glaze; wood fired (anagama side stoke area) for five days to c/12 9 x 4 x 4 inches 22.9 x 10.2 x 10.2 cm LKo 9
  Lesley McInally  Goodnight Noises Everywhere  , 2015 Porcelain and stoneware coil vessel 17 x 18 x 8 inches 43.2 x 45.7 x 20.3 cm LMc 1
  Melanie Ferguson  Circles In The Sand  , 2014 Handbuilt stoneware, sgraffito, flashing slips, oxide stains, celedon liner. Soda fired, heavy reduction 11 x 12.5 x 10 inches 27.9 x 31.8 x 25.4 cm MFe 25
  Melanie Ferguson  Resurrecting Fragments  , 2013 Hand built stoneware, flashing slip, kohiki slip, oxide stains, sgraffito, gas fired in soda 13 x 10.5 x 9 inches 33 x 26.7 x 22.9 cm MFe 45
  Mitch Iburg  Fond du Lac Formation 1  , 2018 Sandstone fragments, glacial clay, dolomite, limonite 9 x 19 x 12 inches 22.9 x 48.3 x 30.5 cm Mib 30
  Mike Weber  Tsubo  , 2018 Wood-fired stoneware 17 x 15 x 15 inches 43.2 x 38.1 x 38.1 cm MWe 31
  Mami Kato  Tsuchi zaiku  , 2018 Ceramic 8 x 4.5 x 4.5 inches 20.3 x 11.4 x 11.4 cm MmK 12
  Peggy Germain  Grande jarre  , 2018 Ceramic 11 x 11 x 8 inches 27.9 x 27.9 x 20.3 cm PGe 1
  Mami Kato  Tsuchi zaiku  , 2018 Ceramic 7 x 4.5 x 4.5 inches 17.8 x 11.4 x 11.4 cm MmK 13
  Peggy Germain  Petit jarre  , 2018 Ceramic 3.5 x 4.5 x 8.5 inches 8.9 x 11.4 x 21.6 cm PGe 2
  Mami Kato  Tsuchi zaiku  , 2018 Ceramic 9.5 x 4.5 x 4.5 inches 24.1 x 11.4 x 11.4 cm MmK 15
  Rebecca Buck  Wyvern VIII  , 2015 Ceramic 15.35 x 27.95 x 13.39 inches 39 x 71 x 34 cm RBk 4
  Monique Rutherford  Untitled  , 2017 Wood fired ceramic 12 x 3.5 x 4.5 inches 30.5 x 8.9 x 11.4 cm MRu 11
  Rafa Perez  Untitled  , 2012 Porcelain and stoneware, fired at 1150 degrees 19.69 x 13.39 x 10.24 inches 50 x 34 x 26 cm RPe 25
  Monique Rutherford  Untitled  , 2017 Wood fired ceramic with carbon trap shino 9.25 x 7 x 6 inches 23.5 x 17.8 x 15.2 cm MRu 12
  Sandy Lockwood  Subduction Series  , 2016-2019 Stoneware and inclusions 7 x 7 x 6.5 inches 17.8 x 17.8 x 16.5 cm SaL 24
  Monique Rutherford  Untitled  , 2017 Wood fired ceramic 10 x 5 x 3.5 inches 25.4 x 12.7 x 8.9 cm MRu 14
  Sandy Lockwood  Gleaning Series  , 2016-2019 Stoneware and inclusions 12 x 12 x 3 inches 30.5 x 30.5 x 7.6 cm SaL 25
  Mike Weber  Trinity  , 2018 Wood-fired porcelain 17 x 11 x 2.5 inches 43.2 x 27.9 x 6.4 cm MWe 30
  Sandy Lockwood  Fish Box Series  , 2016-2019 Stoneware and inclusions 8.5 x 6.25 x 6 inches 21.6 x 15.9 x 15.2 cm SaL 27
  Sarah Purvey  Rhythm - Landscape Series  , 2012 Ceramic 23.62 x 16.93 x 11.42 inches 60 x 43 x 29 cm SPu 4
  Tim Rowan  Untitled  , 2019 Stoneware 8.5 x 17 x 8 inches 21.6 x 43.2 x 20.3 cm TR 165
  Tim Rowan  Untitled  , 2019 Stoneware 10 x 21 x 9 inches 25.4 x 53.3 x 22.9 cm TR 166

Saturday 05.11.19Posted by caroline casey http://www.Cavin Morris.com


Thank you Ashwini Bhat, here with Randall Morris and Shari Cavin at the Rough Stuff Private View, for the following lovely photos!

Peaks at Cupola Contemporary Art.

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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.

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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. 44775361_2101981446508272_8965180284014166016_n

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.

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“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.

Painting 2 (seven Stones for a Drunken Philosopher)

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.

Edge

 

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!

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Water and Stone, Bracelet Bay, 2014, 24cmH x 56cm L x 33cm W, Marbled architectural ceramic. Photo by Stephen Foote.

 

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.

Rebecca Buck, Osprey Studios

Arctic Harbinger, 33cm L x 13cm H x 12cm D.

Rebecca Buck Osprey Studios.

Guardians of the Valley, 30cm H x 67cm W x 26cm D.

Rebecca Buck Osprey Studios.

Wyvern IX, 14cm H x 38cm L x 15cm D.

Rebecca Buck Osprey Studios.

Guardians of the Valley, 30cm H x 67cm W x 26cm D.

Rebecca Buck Osprey Studios.

Over Half A Century II.

Rebecca Buck, Osprey Studios.

The Land I, 24cm H x 65cm L x 19cm D.

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Detail,Up Is Down VI. Photo by Stephen Foote

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Up is Down VI, second view. Photo by Stephen Foote.

 

Coil-Building Master-Class.

Rebecca BuckThere 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.

International Ceramics Festival 2015.

 

Demonstrations. Ceramists from all over the world do several 45 minute demos/interviews to the hall and then you can visit them at their work space to see more closely what they are doing.

Demonstrations. Ceramists from all over the world do several 45 minute demos/interviews to the hall and then you can visit them at their work space to see more closely what they are doing.

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!

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Lisa Hammond, UK.

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Naidee Changmoh, Thailand.

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John Higgins, UK.

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.

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Lanty Ball

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Lanty Ball.

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Lanty Ball.

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Lanty Ball.

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.

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Mary Cousins and Frank Hamer from South Wales Potters.

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The closing ceremony.

Enflamed at Cavin-Morris Gallery, New York.

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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.

1977362_10207300528654376_2230692460964721983_n View the stunning Catalogue here.

 

Melanie Ferguson extra ordinary pots encompass the universe and lead you beyond your borders.

Melanie Ferguson extraordinary pots encompass the universe and lead you beyond your borders.

 

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Mitch Iburg‘s stunning pots leave me breathless with wonder.

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Mitch Iburg. All the mountains of the world are honoured here.

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Sarah Purvey ‘s pot in the for-ground of  the beautiful display at Cavin-Morris Gallery.

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Cavin-Morris Gallery, New York City, USA.

Cavin-Morris Gallery, New York City, USA.

Cavin-Morris Gallery, New York City, USA.

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Cavin-Morris Gallery, New York City, USA.

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Wyvern V, black ceramic, 26.7 x 50.8 x 25.4 cm. Rebecca Buck.

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Wyvern VIII, ceramic, 39 x 71 x 34 cm. Rebecca Buck.

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Up Is Down VI, ceramic, 20 x 49 x 31 cm.

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Leviathan VI, ceramic, 12.5 x 21 x 8 cm.

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.

Sculpture by Rebecca Buck at Cavin-Morris Gallery, New York City, USA.

Sculpture by Rebecca Buck at Cavin-Morris Gallery, New York City, USA.

 

The Albany Gallery and South Wales Potters.

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.

 

 

 

 

 

 

 

 

 

 

 

 

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Rebecca Buck, Half A Century VII, 42 x 27 x 23 cm.

Rebecca Buck, Half A Century VII, 42 x 27 x 23 cm.

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Bird by Jane Blair, Pots by Pam Brooker.

Rebecca Buck, Up Is Down VI, 31cm L x 25cm H x 17cm D.

Rebecca Buck, Up Is Down VI, 31cm L x 25cm H x 17cm D.

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Jane Blair.

The Private View was very  full and bustling but there are still some gorgeous pieces to buy.

The Private View was very
full and bustling but there are still some gorgeous pieces to buy.

Albany have set the ceramics to compliment the paintings and it looks marvellous. The Gallery is an intimate and home-like space making it very easy to imagine the Art-work in your own home.

Albany Gallery have set the ceramics to compliment the paintings and it looks marvellous. The Gallery is an intimate and home-like space making it very easy to imagine the Art-work in the rooms of your own home.

Thanks to Daniel Buck for the Photographs.

 

 

Portraiture, Clay Armatures and building Hollow Workshop.

Portrait class 2015

The Bust

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.

The Technique

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.

Clay armature for a bust, aug 2014

Clay armature for a bust, aug 2014

3rd Bust armature in progress, Aug 2014.

3rd Bust armature in progress, Aug 2014.

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in progress, Aug 2014.

in progress, Aug 2014.

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.

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

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!)

The Wyvern and The  Leviathan. in progress, Sept 2014.

The Wyvern and The Leviathan. in progress, Sept 2014.

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.

The Skull. 2014

The Skull. 2014

The Weekend

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.

2nd Osprey Studios Open Photo Shoot With Stephen Foote.

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.

Stephen Foote, Cameraman and Photographer at Osprey Studios.

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.

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Stephen Foote, Cameraman and Photographer at Osprey Studios with Leon.

Stephen Foote, Cameraman and Photographer at Osprey Studios with Leon.

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Stephen Foote, Cameraman and Photographer at Osprey Studios.

Having a wide range of work materials amongst  the group meant more questions and solutions were flagged up.

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Here is a selection of my favourite images.

John Binet-Fauvel Recycled Sculpture

John Binet-Fauvel Recycled Sculpture

John Binet-Fauvel Recycled Sculpture

John Binet-Fauvel Recycled Sculpture

Kay Milward, Dragonfly wall piece.

Kay Milward, Dragonfly wall piece.

Kay Milward, Greenmen

Kay Milward, Greenmen

Kay Milward, adorable characters only 4cms high.

Kay Milward, adorable characters only 4cms high.

Rebecca Buck

Rebecca Buck

Rebecca Buck

Rebecca Buck

 

Photo-Shoot of your Work

 

 

Photo shoot 3Getting 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.