In order to think about where my work would fit it helps to think about two things. Firstly, where do people who make work similar to mine place their pieces? Secondly, considering the context of my work and how it derives from British pottery traditions, where does it make sense to show it?
Starting by looking at Cardiff to begin with, there are many opportunities for me to have work on display, although at this point in order to fill the kinds of spaces they have at Arcade Campfa and BayArt, it would make sense to get a group of peoples work together. My degree show work is sculptural and suited better to a fine art/contemporary craft gallery context than a makers market, but its intended layers of metaphor twinned with the objects being ceramic vessels makes them quite flexible. While the work could be showcased in Craft in the Bay as a way of bringing to attention material processes and alchemy, it could just as easily be curated to sit beside a body of other three dimensional work or even accompany two dimensional pieces in a space like Arcade Campfa.
I have spoken to John Bennett from the Ceramics MA about the possibility of us putting on a show at one of these venues since we both work in a similar way deconstructing thrown vessels but with different goals and inspirations in mind. I really think my work would be well suited to display beside someone who works with collage too for example James Green’s whimsical creations. There is humour to both our work and a remaking of something new from the old. Albany Gallery also occasionally showcases guest makers working in ceramics and Made gallery put on exhibitions too (their smaller, more intimate space might be better suited to my work which references the domestic).
I don’t think my exhibition work would suit a museum shop. The vessels work better together in a kind of installation and their strength comes from their differences beside each other. I think I would like to see my work in the ceramic gallery at Aberystwyth Arts Centre. Having parts of the university ceramics collection in the background – Leach, Hamada and Pleydell-Bouverie would provide an interesting juxtaposition to my work. Parallels could be drawn between glazes and form. It might even be more interesting if pieces from the collection were placed immediately beside my work, like in the Ken Stradling collaboration so that the work becomes more of a contemporary installation with ‘found’ or ‘readymade’ objects. The Philip Eglin and Robyn Cove exhibitions in Aberystwyth did something similar.
Looking further afield, I was very drawn to the work at Contemporary Applied Arts in London. While you must be an established maker to become a member, there are many members working in a similar way to me with expressive vessels who are CAA members – Dylan Bowen, Akiko Hirai, Sandy Brown, Gareth Mason and Takeshi Yasuda so my more ‘complete’ vessels might fit in there. I also think a space like the upstairs gallery in the Corvi Mora where I saw Sam Bakewell’s work and where they often hold group exhibitions of ceramic artists working with the vessel would be an interesting place to exhibit.
While the work is suited for white walled gallery spaces, I really enjoy how the sculptures look beside the concrete walls in the CSAD foyer space. The details that draw attention to the materiality of my vessels also draw attention to the beauty of details in the surrounding architecture – cracks and fissures in the concrete, holes in the walls… Perhaps the work would be well suited to an industrial space, I’m thinking of somewhere like the renovated boiler plant turned contemporary art gallery Röda Sten in Gothenburg. It would be interesting to see the work in such a huge space, I expect it would look diminutive and lost, perhaps precious like jewellery or maybe just like an abandoned picnic in the park, the warm and domestic eclipsed by the cold, impersonal industrial.
Image sources: https://www.google.co.uk/search?q=aberystwyth+ceramics+collection&safe=strict&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjyzqygxpjiAhVs1-AKHWkTBjgQ_AUIDigB&biw=1366&bih=625#imgrc=1FMR2e3MHk83CM: