<Contemporary Ceramics>, <Contemporary Ceramics Centre>, <Studio Ceramics>, <Craft Potters Association>, <CPA>, <Kate Scott, Matthew Chambers, James Oughtibridge>

Form, Tone, Texture

7th of July - 30th of July

Contemporary Ceramics Centre presents 'Form, Tone, Texture', a group exhibition with three makers who take high fired ceramics in three very different directions.
Matthew Chambers'  pieces are born from a love of geometric and constructivist art, architecture, and design. Each piece is a constructed abstract exploration of shape combining traditional processes and contemporary form, designed to create a visual and tactile beauty and intrigue. They are minimalist yet complex objects built from layering many sections within a single form.
James Oughtibridge was first introduced to clay in1995 on an Art Foundation course under the guidance of Raku potter David Roberts. The physicality of the making and the challenge to work on such a large scale has always been at the forefront of his work. James went on to study an MA at the Royal College of Art. It was time to push and try new things. Recent private and public commissions around the country,  including at the Presidential Suite at the Grosvenor Hotel in London and for the latest Bond film Spectre, have allowed me to dramatically increase the scale of my current work. Surface texture, lines and mark making are incorporated into the slabs during the building process to create a greater sense of movement in the work.
Kate Scott trained originally in graphic arts. What started as a casual enthusiasm for ceramics has taken over, and she now works full time from a studio in south east London. Her recent work is in stoneware, investigating textures and patterns inspired by the shoreline and the sea. She also uses writings associated with the sea, in particular the Anglo-Saxon poem “The Seafarer”.  The stoneware body is first coloured with oxides, and once thrown, each piece is carved and inlaid. It is her intention that the decoration should be part of the surface of each piece, rather than a later addition.