Archives for category: studio work

So far most posts on this blog have been concerned with the challenges of the project: what to make, how to make, how it relates to my past work and other ceramicists in a similar field.

But a major interest for me is the subject matter, the thinking behind the subject matter, how I can express my personal philosophy in an engaging way.

The development of my new work, and the chosen subject for my MA dissertation in 2012, involved the investigation of the idea of ‘Place’ as a vehicle for expression of mood, memory and for a sense of what is ultimate and meaningful in human life.

A group of places have become significant for me during the last year or so; a common link is a sense of renewal, hope, rebirth.

Grass Woods is an ancient woodland near Grassington in North Yorkshire. The area includes the site of some iron age villages and was inhabited until the Black Death depopulated the area. There is a quiet seriousness about the woodland, and the thickets resound with birdsong. The woodland is managed by the Woodland Trust.

There are large areas of hazel coppice which are being renovated. Not only do I respond to the idea of renovation, but the structures formed by the cutting of the stakes, the piles of branches and the woven baskets of protective twigs over the stumps form a fascinating visual structure. It’s best in winter, when the surrounding saplings are bare, adding a vertical dimension to the pattern.

It’s Christmas eve tomorrow,  and another of my ‘significant places’ is above Carleton up on the moor behind our village. we have a friend who lives in a remote house on the moor(we’ll be sharing her house in June 2015 during North Yorkshire Open Studios. I came across a plantation of Christmas trees which have survived the chop. I drew them in September and some interesting images are coming out of the session.

plantationIChristmas tree plantation	cylinder

If anyone is out there reading this, Happy Christmas!

Things have been happening at Junction Workshop.

Every available horizontal surface is now supporting a growing collection of half finished pieces, potential pieces in the form of huge leatherhard slabs, drawings, linocuts (for making impressions) and a huge sandbed in which the next group of pieces will be formed.

The walls are also beginning to fill up, as I experiment with various hanging and supporting methods.

I am excited by the idea of making pieces that function both as sculptural wall pieces and functional platters or groups of plates or spoons – the way the project is developing is very fluid at the moment, but a theme is emerging that involves pockets, hooks and boxes, all hanging on the wall.

These pieces all involve experimenting with plates in pockets. By simplifying my drawings  I am able to make some dramatic juxtapositions without losing the sense of place.

I’ve also been playing with ways to  suspend and hook elements of landscape and nature within the composition this one was accidental; maybe there’s potential here…

prawle edge detail

Another thread I’m following involves the development of my ‘hedge candelabra’ into wall pieces. These can be hooked invisibly to the wall and create glorious shadows.

hedge wall piece detail

It’s been a huge pleasure to be working with my (funded) assistant Pippa, not only because she rolls all my slabs, but also because she radiates sunshine and works tirelessly to help solve all the little problems that  inevitably crop up in the making of new work. I sneakily took some pictures of her working, but have decided not to publish without consent!

Our website,, has been disabled for some months while we try to update it. Never again will I ask a younger family member for help!

Here are some of my new pieces for Oxford Ceramics Fair.

One more firing to go….


The North/South Art Blog


abstract art, a systems view

Finding Nature

Nature Connectedness Research Blog by Prof. Miles Richardson

Under a Grey Sky

Adventures beyond the front door...

Anna Lambert's MA Blog

Anna Lambert's MA work