Archives for posts with tag: Exhibitions

IMG_1082Before writing this blog, I came from my studio and noticed some broken pieces of industrial rubber sitting by the curb. Hardened from weathering and worn by vehicles driving over them, the crackled black surface retained a striking yellow streak. To most, their presence would go unnoticed, but to me, as a ceramic artist, they possessed a visual potential that I instinctively knew could lead to a new series of works.

IMG_7265It may seem obvious to say that observation is an invaluable part of an artist’s practice, but for me, it’s a research method and form of image collection that I have developed over the years – from drawing and painting in sketchbooks and making cardboard maquettes to forming slabs in clay. Observation has become as integral to my process as making and firing, and without the ability to observe and record my surroundings I think my work would be very different.

I like the notion that from a small mark on a wall, a spray-painted number on a paving slab, a rusted sheet of corrugated metal or broken piece of rubber, it is possible to see beyond ideas of unsightly detritus and reinterpret those markings or objects through the creative process.

IMG_7781I’ve been working with clay for the past 20 years. For me, clay is a material that’s always challenging, yet ideal for creating the forms I wish to make. It can be unpredictable, and hard work, but ultimately rewarding and gives me scope to define my interest in the relationship between industry and nature. Working with clay also means working with a specific series of tools: a kiln, cutting and rolling equipment, slips, oxides and glazes are all vital to the physical process of ceramics, but something that’s invaluable to me and an integral part of my own creative process, is the ability to observe the world around me and to translate these observations into clay.

Rebecca Appleby, September 2016RA_ceramic

Rebecca Appleby | Urban Palimpsest  is on show at New Craftsman from 10 September to 8 October alongside Matthew Lanyon | In The Tracks of the Yellow Dog, with sculpture by Breon O’Casey and ceramics by Matthew Chambers.



Landscape Study 2012 - Green over Gold for WPress

Anyone with an eye on the 21st century crafts scene cannot fail to have noticed the rise and rise of contemporary glass. No longer considered merely the stuff of kitsch, glass has reinvented itself and is leading the way in design led craft, a phenomenon that can be traced back to the installation of Dale Chihuly’s awe inspiring V&A Chandelier in 1999.

Having recently exhibited the work of Peter Layton, the founder of Bermondsey’s London Glassblowing studio and one of the world’s most respected hot-glass artists, this summer we are proud to welcome glass making duo Stephen Gillies & Kate Jones, whose work is also included in the permanent collection of the V&A. Gillies’ considerable ability as a glassmaker is enhanced by the decorative work of his partner Jones, who trained originally as a painter and has adapted this skill to mark making on glass, and from 26 July to 31 August you can see their most recent collection of work right here at New Craftsman.

The history of glassmaking goes back to Mesopotamia in around 3500 BCE and throughout the centuries owning luxurious, artisan glassware has been a mark of status and privilege. Certainly every piece of Gillies Jones glass we’ve unwrapped and displayed for the opening of our summer exhibition has the feel of a rare and precious object and so, soaked in St Ives’ famous clear north light and enhanced by our current run of glorious summer sunshine, Gillies Jones glass will be lighting up the gallery alongside the work of Penwith landscape painter Neil Davies, potter Chris Keenan and artist Jane Reeves.

You can learn more about Stephen Gillies & Kate Jones in the following short film by clicking here

Landscape Study Lavander over Pink for WPress

Image top: Landscape Study – Green Over Gold, Gillies Jones

Image above: Landscape Study – Lavender Over Pink, Gillies Jones