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“Harmony is not always exact”.

Sarah is a British Ceramic Artist who works with clay to create highly textured and expressively decorated sculptures and produces a range of hand-made tableware in lively forms and vivid colours.

Sarah’s work focuses on the figure, both in the abstract forms permitted in functional pottery and through figurative ‘gesture’ sculptures. She specialises in high fired vitreous ceramics (fired to stoneware, 1260°C).

She shows her work at specialist ceramics and art exhibitions and sells online.  Please visit her collection at Vinterior for more.  Her work is also available direct from her studio (by appointment please).

Check the blog for latest news and events.  Please feel free to call her or make contact to arrange a visit.

Sculpture

Click on each image to show details and prices for Sarah’s sculpture.
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Ceramics

Click on each image to show details and prices for Sarah’s ceramics.
You can also scroll between images once you click on any image.

About

Sarah has exhibited at Pangolin London, at the Red Gallery, the Brick Lane Gallery, the Society of Designer Craftsmen and in a solo show in their Shoreditch Gallery, together with taking part in the London Design Festival.

The inescapable figure:  Sarah’s work focuses on the figure, both in the abstract forms permitted in functional pottery and through figurative ‘gesture’ sculptures.

She first began to make with clay following a major accident in her later 20s (2004) and through attending courses with Sandy Brown at her studio in Appledore in Devon.  Sarah studied ceramics at Central St Martins College of Art and Design and works from her studio in Barnet, Hertfordshire.  Having spent a number of years working with low fired earthenware, exploring its semi-porous qualities, she now works with high fired vitreous ceramics (fired to stoneware, 1260°C). She is interested in the expressive possibilities available in clay and moving to stoneware has given this a sense of immediacy.  When throwing, she works with softish clay, throwing on a slow-turning Leach Wheel, then applying a layer of white slip to release the grey body, allowing for vibrant colours to be applied.

“There is a preoccupation in my work with the immanence of the feminine and the results, or lessons, of that experience.  Each piece is a meditation on this emergent experience.”

Making functional pottery is the making of domestic space.  Questions regarding the role of women in domestic space are implicit in the apparently defiant functional ware Sarah creates. The work acts in relation to that space. In a global culture where women are simultaneously ‘at work’ and ‘at home’ this aspect of her work touches on themes of craft, care, nurture, work, labour and sustainability.

Sarah is noted for her ‘gesture’ figures, roughly textured and often boldly formed sculptures.   Having suffered major burn trauma in a gas explosion in her twenties, these injuries continue to be accommodated in Sarah’s daily life. The stages of creating ceramic from clay is a process that innately references recovery from a major burn.  The practice of “making first” allows the work to emerge from a place of not-knowing, beginning to materialise as making continues.

Survival of major trauma is more frequent than it once was; these experiences are deeply felt but attract a dialogue that is often desensitised, oversimplified and poorly articulated.  Sarah’s figurative sculpture touches on notions of youth, age, loss, knowledge, wisdom, beauty, archetype and survival and seeks to initiate a language that articulates and integrates the complexity of experience from which it emerges.

Blog

Up Against It

This piece explores the complex relationship between feminine beauty, making, work and feminine power.  It works with a figure from my own mythology that emerged as an image in a dream.  It presents an unconventional beauty pressing her breast against a brick wall as she reaches forwards in an exaggerated gesture.  Her boundary is only …

Wisdom

My latest piece has been a long time in making.  The finishing of wisdom is, as one might expect, a slow process!  But in all seriousness, the qualities in this ancient moustachioed man really touches something about the nature of wisdom. This piece explores the societal expectations that accompany traditions of knowledge and wisdom. It …