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