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

Installation_0002.jpg
Installation_0005.jpg
Installation_0007.jpg
Installation_0009.jpg
Installation_0011.jpg
Installation_0012.jpg
Installation_0015.jpg
Installation_0017.jpg
Installation_0019.jpg
Installation_0021.jpg
Installation_0023.jpg
Installation_0026.jpg
Installation_0027.jpg
Installation_0029.jpg
Installation_0032.jpg

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.

43823307_2083943141645436_5821873833820291072_n

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.

44076993_2088784687827948_6011573176255905792_n

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.

44726402_2101981496508267_570492293950210048_n

“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!

_F149639

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.

_F145911crop

Detail,Up Is Down VI. Photo by Stephen Foote

_F145907

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

 

Enflamed at Cavin-Morris Gallery, New York.

11011935_10207300528734378_8987761482456507006_o

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.

 

11537803_10207311092638469_5240733511911114339_n

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

11415505_10207311092438464_4275687813521443238_o

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

. 

11406152_10207311509928901_6036651068093316479_o

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

11536487_10207311510008903_3648470053000841142_o

Cavin-Morris Gallery, New York City, USA.

Cavin-Morris Gallery, New York City, USA.

Cavin-Morris Gallery, New York City, USA.

11125816_10207311509968902_6811371242251941930_o

Cavin-Morris Gallery, New York City, USA.

11144951_10207300632456971_5008811582271769390_o

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

10985193_10207300632576974_2294998455238573011_o

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

10658835_10207300632176964_1400949773888147250_o

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

11066531_10207300632536973_4455478861361309613_o

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.

 

 

 

 

 

 

 

 

 

 

 

 

OLYMPUS DIGITAL CAMERA

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

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

OLYMPUS DIGITAL CAMERA

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.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

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.

 

 

Sculpture in the Garden

_F147690A Sculpture will transform any Garden, huge or pocket-sized, elaborate or austere. It will need to be made of beautiful, quality materials that have a radiance complimentary to your gorgeous plants. A piece needs to be frost-proof and easily cleaned. No material is as durable or as low maintenance as high-fired Clay.

Screen Shot 2019-05-26 at 06.54.15

Tawe Arts Week is the perfect time to come a visit the garden. You will be welcome to take a free cup of tea or coffee and sit out and relax while you take it all in. There is also displays of smaller sculpture in the house. In the Studio there will be a Join-In Sculpture on the go so you can add your bit. Arts Week is the time each year when I am available to talk through your ideas and projects and I love it.

IMG_20190504_180102126

I make simple , movable plinths with old bricks and attractive stone paving tiles. Dig a hole and put in some bricks to make a foundation if the Sculpture is tall or very heavy, then build a hollow plinth with a small doorway that can double as a safe, cosy home for wild-life. If security is an issue or the piece is tall and vulnerable to high winds sink a stake into the ground, build the plinth around this and have the stake go into the Sculpture- many of my Sculptures are hollow and you can set them securely with cement if needs be.IMG_20190504_175930057My garden is 8 years old and is now really coming into it’s own. IMG_20190328_105048782IMG_20190504_180149583

IMG_20190504_175952314

IMG_20180603_090657302

IMG_20180526_130818064

IMG_20190504_180247885

The River, commission.

The River, commission.

Wyvern II, 70cm H x 52cm W. £850.

Wyvern II, 70cm H x 52cm W. £1100. (sold)

OLYMPUS DIGITAL CAMERA

Up is Down XV, £300 (sold)

OLYMPUS DIGITAL CAMERA

Harbinger I, £600. (sold)

OLYMPUS DIGITAL CAMERA

Up is Down XVI, 26cm H x 56cm L, £300.

OLYMPUS DIGITAL CAMERA

Up is Down II, 42cm H x 90cm L, £950.

OLYMPUS DIGITAL CAMERA

Half a Century III, 40cm H, £150.(sold)

OLYMPUS DIGITAL CAMERA

Some of the Sculpture is fresh from the Kiln and new work will be on the go in the Studio.

River Harbinger, 125cm H, £950

River Harbinger, at Wyndcliffe Court Sculpture Garden, 125cm H, £950 (sold)

OLYMPUS DIGITAL CAMERA

The River III, 80cm H, £500

The River III, 80cm H, £500 Sold

OLYMPUS DIGITAL CAMERA

The Edge III, 57cm H, £600, (sold).

I freely admit I spend countless hours staring into the pond ''thinking''...there are Newts !!

Callipygous, 41cm H x 73cm L, £600.

Callipygous, 41cm H x 73cm L, £600. (sold)

In the winter sculptures give the garden focal points and structure while the plants rest.

OLYMPUS DIGITAL CAMERA

Up is Down IV, 44cm H x 58cm L, £2400 (sold)

OLYMPUS DIGITAL CAMERA

Up is Down II, 80cm L, £300

OLYMPUS DIGITAL CAMERA

Harbinger I, £600. (sold)

The Garden backs right onto the wonderful country-side of the Brecon Beacons National Park

Osprey Studios Garden backs right onto the wonderful country-side of the Brecon Beacons National Park

Sculptures will define each area of your garden. This patio at the end of the garden is a calm, reflective place with dappled shade in the summer and warm sun in spring and autumn. In the winter the sculpture stands out and is eye catching from the house.

OLYMPUS DIGITAL CAMERA

Up is Down II, 41cm H x 80cm L, £300.

OLYMPUS DIGITAL CAMERA

Musings, 21cm H, £150. (sold)

_F147695

Musings, 20cm H, £150.(sold)

_F147699

The Edge XI, 77cm L x 49cm H, £300

The Edge I , 52cm H, £730.(sold)

The Edge I , 52cm H, £730.(sold)

The Edge XII, 71.5cm L x 46.5cm H x 40cm D.

The Edge XII, 71.5cm L x 46.5cm H x 40cm D. £1400 (sold)

The Edge XI, 77cm L x 49cm H x 40cm D.

The Edge XI, 77cm L x 49cm H x 40cm D. £300