THE CURATOR’S VIEW – February 2015

After the buzz surrounding the Graduate Show - our opening event of the year - we always need an exciting group of featured makers in February to sustain interest and to provide several good reasons to keep visiting Bevere as the year advances. This month’s makers, two of whom have never shown at Bevere before (yes, there are still potters that haven’t), do just that. Each month, we try to ensure that diversity and contrast, two of Bevere’s defining characteristics, are sustained; so it is that we have a talented ceramic sculptor, a maker who has mastered the making of refined raku ware and the doyen of print on clay.

Jane Muir

 makes idiosyncratic painted figures which offer a whimsical take on the world. There has been an increasing interest in sculptural ceramics and once again this is because there are a number of original voices which produce work of continuing interest and often raise a smile. Jane is one of them and I am pleased that she will be showing her work in the gallery and outside pieces in the courtyard. Jane studied at Central St Martins and the Royal College of Art and has exhibited widely here in the UK and abroad.

Debbie Barber

originally trained in textiles and only later trained in ceramics which has been her life -long interest. She uses naked raku firing techniques to produce decorative wares which demonstrate the early influence of fabric design. It was the quality of the decoration which first attracted me to her work and I am sure that you will enjoy and appreciate her strong and confident designs. She says that she enjoys the hands on element of raku which demands the close attention of the potter throughout the process from start to finish.

Paul Scott has shown at Bevere before. He is one of the leading exponents of print on clay techniques and has written extensively on the subject.

He is one of those makers that brings together contemporary and traditional aesthetics to produce pieces that are uniquely his own. I have admired his work for a long time. There are seminal qualities here which are the hallmark of the thinking potter – that he is an academic may be a factor. His work is redolent of times past whilst clearly looking forward. I know that many visitors will enjoy this work which is predominantly blue on white. He has just returned from New York where he has been exhibiting.

So that’s February. I hope you agree that we have just the right makers to maintain the momentum that the Graduate Show has generated.

The Year At A Glance In the Gallery

TWELVE THOUSAND AND COUNTING

TWELVE THOUSAND AND COUNTING

From time to time, we have marked significant gallery milestones.  On this occasion, I am pleased to highlight the 12000^th piece that we have shown over the past nine years. It is particularly appropriate that the work should be made by one of the exhibitors in our 9^th Annual Graduate Show which opens on 10^th January 2015; an emerging talent that we hope will continue to develop and grow in reputation.

It is an impressive, overprinted porcelain sculpture by Alison Shanks. Kate Moss Idol is a classic graduation piece; bold - in your face even – demanding our attention. I suspect that no-one will be indifferent about it. The work is lit by LED and UV lights to give an aura to the bust of this famous fashion model in a way which seems entirely right. It is also interesting that Alison has shown a split image which suggests – at least as I see it – that celebrity has a public and private face. You may take a different view; that is the joy of art.

I am delighted that the milestone has occurred at this time when we look to the future of ceramics and reflect on continuing human creativity. Enjoy!

Stuart Dickens

Ceramic Curator

Curator's View - JANUARY 2015

THE CURATOR’S VIEW - January 2015

Happy New Year! 

We embark on another year of exciting ceramic art and craft. New Year is frequently perceived as the time for renewal and fresh beginnings - although it can often feel like a triumph of hope over expectation. No such feelings here as we launch the year with our Annual Ceramic Graduate Show. It is already evident that we have selected exhibitors who will make their way in studio ceramics. The work submitted by the chosen graduates demonstrates the creativity and diversity which is the well spring of the craft and the hallmark of Bevere Gallery.

It would be invidious to pick out one maker from another. They have been selected because of their impact on us when we saw them at New Designers 2014 after graduation. For me, the initial response – intellectually and emotionally - is a good guide and these ten exhibitors tick the right boxes. Incidentally, I would not be so arrogant as to say that these are the best of the 2014 crop however, as in previous years, they are amongst the most stimulating, skilled and creative.  Some already have great design skills and clearly studio ceramicists/designers are making an important contribution to the wider commercial sector.

One name I can mention is Neill Curran. He won the visitors vote as the favourite in the 2014 show. He has continued to make and exhibit and we are delighted to see his work as it has developed one year on.

Once again we will be asking everyone who sees the show to name their favourite maker. The one with the most votes will continue to show at Bevere over the coming year. Additionally a voting paper will be drawn from the many that will be completed during the three weeks of the show and the lucky individual’s vote will earn them a £100 voucher to spend at Bevere. Yet another good reason to come and see the show, which will open on Saturday 10^th and run until Saturday 31^st January.

We look forward to seeing you, as will those makers who are able to be with us for the opening.

Stuart Dickens 

Ceramic Curator

Richard Godfrey

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It is with great sadness that we have heard the news of the death on Saturday 13th December of eminent ceramicist Richard Godfrey.

He will be remembered in many different ways by so many people. Primarily, it will be his brilliantly innovative pots and immaculate decorative technique that will remain a permanent reminder of his great talent. His latest and sadly his last work, is amongst his best. It is extraordinary that serious illness should have been the trigger for his most inspirational pieces. Richard’s trademark use of colour and remarkable draughtsmanship has produced works which have been universally admired.

More than this, he had an exceptional personality; unfailingly cheerful and positive, he was an inspirational figure who will be sadly missed by all who knew him. Studio ceramics has lost one of its elite makers.

We have been privileged to represent him over the years and he will remain in our hearts for many more.

Words Richard said about his work:-
"The inspiration for my work comes mostly from the coastline and countryside around my studio. Ideas for forms are often derived from things that I pick up on the beach. Shells, bits of wood, plastic bottles, in fact just about anything. I walk a great deal and usually find things in the hedgerows to inspire me. I love natural forms like insects, seeds and berries. My studio is right on the cliffs here in south Devon, in a very unspoilt area. The light is wonderful and I find a great deal of intense colour throughout the year. I enjoy the changing seasons as each brings it’s own beauty.

 The sunrises in February are often spectacular; the wild flowers in May and June create great sweeps of colour across the cliffs, the berries and bramble leaves of autumn provide intense focal points. I take a lot of photographs, both slides and prints and often use these as source material from which to draw. The drawing process for me is a way of distilling the essence of what I have seen, looking for whatever it was that touched my button, in order that I might use it to touch someone else". 

"CHRISTMAS FOCUS"

THE CURATOR’S VIEW – November/December 2014

We are fast approaching that time of year – I am reluctant to use the C word when as I write this it is not yet November - nevertheless we want to ensure that the gallery remains a vibrant and exciting showcase of some of the best in studio ceramics. I am particularly delighted that we are showing the work of Ruth King for the first time.

 On the face of it Ruth slab builds, shapes and alters clay to form her shapes of apparent simplicity. However, there is nothing simple about them at all. The shapes are almost a sideways glance at the conventional. They have presence and demand to be looked at more closely. I like these pots because they have such a distinct voice. Ruth’s way of visualising her vessels is unique and genuinely combines high level craft skills with a strong contemporary look. If you haven’t seen Ruth’s work before then be prepared for a pleasant surprise.

Clare Conrad has not shown with us for some time. Here again is a maker with a distinct look. The surface textures are remarkable -

redolent of earthen landscapes viewed from a satellite. The shapes of her vessels are simple to ensure that maximum exposure and emphasis is given to their tactile surfaces.

There was no eureka moment here, what we see is the product of an artist’s vision which has taken time to mature and realise.

Annabel Faraday

 is one of the most able practitioners of print on clay. The group of pieces, which we have this month, are some of the best I have seen.  The subtle use of colour, the choice of images and the spirit of place which she gives to each vessel is a joy. She will be showing again next year and we hope to have work from her which portrays the city of Worcester and environs with the same characteristics.

Ostinelli and Priest

are amongst the most talented of ceramic sculptors. The quality of the modelling is of the highest order and somehow they manage to capture the very essence of the animals which they represent. However it is more than just about modelling skills – what we see is humour and the ability to give personality to each piece. For me it is the eyes which are so expressive. People will have different perspectives on their work but for sure they cannot be ignored and we hope that visitors will be as stimulated by them as we were when we first opened the boxes and removed the wrapping. Sometimes it feels like C……..s even when it’s not.

We will also have new pieces from Matthew Blakely,
Christine Gittins and
 Richard Heeley

and who knows one or two more surprises before we get to Christmas – there I’ve said it.

Stuart Dickens 

THE GALLERY ALSO SUPPORTS WORK FROM OVER 
80 STUDIO POTTERS

THE CURATOR'S VIEW - OCTOBER 2014

The history of ceramics is one inextricably linked to functional use as is evidenced by archaeological finds dating back several thousand years. However, tableware remains an important feature of the daily rituals of eating and drinking today and many will say that food is enhanced by the beauty of the pots on the table.  This month’s tableware feature is a reminder – as if we needed it - that there is as much character and inherent beauty in a well-crafted functional vessel as there is in so-called decorative ceramics. The September /October transition is often tricky and we have some delays in sending work – however the five makers who are part of this month’s feature clearly demonstrate the truth of the notion that ceramics is indeed clothes for food.

Two of the five have shown with us before. The oriental inspired work of Kaori Tatebayashi

  has always generated interest and her admirers will not be disappointed in the group that she has put together. It is recognisably Kaori’s work but she continues to develop her range and I particularly like her scalloped bowls.

 Kochevet (Kookie) Bendavid

has also shown here before - although some years ago – and I am delighted to be reminded of the grace and elegance that she brings to her bowls and dishes. Whilst they may be seen as ‘special occasion’ vessels, they will bring a luxuriant elegance to the most mundane of meals.

As for the three new exhibitors, they bring a diversity which we always look for in group features.

 Stuart Carey is making a name for himself with his finely crafted tableware and what appeals to me is the simplicity of design and the throwing skills which he demonstrates in every piece. His use of semi porcelain and subtle monochrome glazes enhances the appeal of these finely crafted pieces. Once again, it is the notion of the potter’s hand on every vessel that sets each piece apart. 

Louisa Taylor

is another new face at the gallery this month. In her own words she makes vessels for sharing and relaxed eating. We see here the notion of eating and ritual; ceramics which enhance such an important aspect of our daily lives.






 Sue Binns is well known to many but has not been at Bevere before. Her strongly decorated work will grace any table and once again provides a contrast to the more subtle decoration of Carey, Tatebayashi and Bendavid.

I hope that – like me - your will be stimulated by the work of five of the most stimulating makers of functional ware today.

If you have read the latest edition of Ceramic Review you will know that Christopher Taylor

is also due to exhibit with us from the 16 October. The article which I commend to you says much about Chris’s work and his approach which has developed since he undertook an MA at the RCA. I know that the coming together of the traditional with the contemporary is something of a cliché but Christopher Taylor clearly has brought them together in a way which makes his work so attractive to many – even those who say . . I don’t normally like this kind of work but . . . I have been an admirer of his pots since he was voted into first place in our Annual Graduate Show some three years ago. He has come some way since then and his work is much in demand. 

Stuart Dickens