I visited Collect for the first time a couple of years ago but at the time I don’t think I understood exactly that it was a bringing together of international craft and design galleries, each with their individual focus and themes, and that many of the galleries were nearby enough in London to visit within the same trip. This time, one of my first impressions was surprise at the use of bright acrylics to decorate ceramic in Matt Sherratt’s work. Perhaps my views are prejudiced having studied on a purely ceramics BA, but having tried it myself, I now view painting ceramics as a lazier, quicker alternative to glazing and value much more the depth and subtle variations in glazes. In the same gallery as Sherratt’s sculptures (the Joanna Bird Contemporary Collections) I also found one of my favourite works in the show, Danish artist (and recent RCA graduate) Theis Lorentzen’s ‘Remnants’, £3000 assemblages of what look like collapsed terracotta vessels with a tin/lead glaze breaking at the edges. To create them, slabs of clay are cut or torn straight from the bag and thrown down to form a random but confident balancing composition. The work reminded me of my own recent vessels which have collapsed when I’ve sliced, patched up and stretched the clay too far. The quality of line where the glaze breaks to allow the clay’s iron to seep through is something I’m hoping to draw attention to with my newest glazes as well – it highlights the ragged silhouettes and adds a textile-like feel to the fired clay, like a seam running along the edges. Of all the gallery spaces, Officine Saffi was my favourite which their surreal, whimsical collection of objects. This Milan based contemporary ceramic gallery is one I’ll be looking out for at Collect in the future.
The Marsden Woo, although just around the corner from the Saatchi where Collect was held, was difficult to find because we didn’t expect the upstairs to be full of designer ballroom dresses. The ceramics gallery space is hidden down some stairs in a small room, but is a fantastic collection representing artists such as Alison Britton, Gordon Baldwin, Philip Eglin, Kerry Jameson and Nao Matsunaga. It felt a little uncomfortable to have the gallerist following us around since I’m not used to visiting these kinds of galleries which I expect are targeted more towards rich collectors than the general public. It has made me think much more about gallery structures which are different to the usual open gallery/museum (e.g. Craft in the Bay or the V and A). On the other end of the scale it seems you have appointment only exhibitions such as Claire Curneen’s current exhibition at Oneroom. Tabish Khan writes an interesting article on appointment only exhibitions here , discussing art’s accessibility and the ‘private sales room’ structure some galleries have. In between these two I found the Corvi Mora, a strange hidden away gallery which you have to ring a doorbell to enter.
Sam Bakewell’s (UWIC graduate) exhibition ‘Time for Waste’ at this gallery was the highlight of my London trip. The collection of objects centres around a series of brightly coloured ceramic block assemblages and the coloured clay dusts which were collected from sanding the blocks down. Although the dusts look as if they might blow away if you breathe too close, they’ve been re-fired onto the rectangles as you can see on some piles which show traces of sintering. The parian clay which has been used gives the blocks an almost milky, translucent quality like a panna cotta dessert. The choice of colours tingles the taste buds too, reminding me of trips to the sweet shop as a child, jelly beans, starbursts and sherbet powders. The texts written by Alison Britton and Edmund de Waal to accompany the exhibition are beautifully written and draw attention to the complex relationships between clay, waste, dust, time and things forgotten and lost.
Contemporary Applied Arts
I was very pleasantly surprised by the size of this gallery and the variety of ceramics in the collection. While the Corvi-Mora is more orientated towards Fine Arts and Mint which I visited yesterday has a much more home decor/furniture vibe, this venue has a much more craft orientated approach. To exhibit at CAA you must be a member, the call for which goes out around April time each year and costs £130. Among the work I was most drawn to were the large thrown vessels by Chris Taylor (priced at £510 for the smallest). He appears to first paint on coloured slips, then apply transfers, then loosely apply a transparent glaze to change the colour of the slip darker in some areas, then apply over-glazes in floral patterns on top. The work is low fired but I imagine it still costs as much as stoneware to fire the work multiple times to build up layers.
As a result of my trip I’ve began to pinpoint figures who align closest to my current practice and the deconstruction /sculptural qualities of the vessel. Dylan Bowen’s fun, sketch-like vessel caricatures at CAA and Alison Britton’s forms at Marsden Woo which reference domestic vessels but use almost symbolical shapes for spouts and handles are exciting to me in terms of shape. Surface-wise I’m very much drawn to the dry, matte glazes of Sun Kim’s porcelain vessels at Collect which appear to absorb the light, as well as Sam Bakewell’s glutinous tiny cityscapes.