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Here are listed many of the past and present contributors to the Woodbury Studio Gallery. Those artists currently or recently exhibiting here are listed first.
John Nuttgens has been making pots since 1969, beginning while he was studying music at Trinity College, London. Eventually he attended Harrow College of Art in the mid-1970s. The labour intensive pieces begin life as wheel-thrown forms. But the shapes are often substantially altered whilst still soft, or have other sections added. They may then be further refined by hand-carving and shaping, the surface being brought to a very fine finish before the application and burnishing of layers of micro-thin terra sigillata. |
Raku - New Directions |
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‘I collect small seeds of information and put them together, trying to make the extraordinary and unexpected happen, and sometimes it makes sense, and a beautiful object is created … In my last objects the textures had a kind of velvet softness in their character and I chose silent, simple, smooth, round shapes for them.’ Karin studied ceramics from 1985 to 1990 on Goteborg University’s Design and Crafts programme. It was there that she fell in love with raku. |
Raku - New Directions |
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John Pollex has worked in all areas of slip-decoration since the early seventies. In the mid eighties he developed a range of highly coloured slips which he now applies to his work with a variety of sponges and brushes. He particularly enjoys the personal contact to be found in lecture/demonstrations and has featured in over fifty workshops given in the UK and overseas since the 1970's. He is a Fellow of the Craft Potters Association of GB.
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Raku - New Directions |
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Tim describes the essential elements of his ceramic activities as ‘production and process’. Preparation is most important as it sets the parameters of any particular avenue of exploration. He begins with drawings that are gradually worked and developed and then transformed into three dimensional objects. Much of the work centres on the form of the cube. It can suggest stability or journeying, preciousness or loneliness. There are obvious spiritual allusions. |
Raku - New Directions |
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As a child, I would bring home stones from country walks, the beach, even suburban front drives. I loved the roughness of some and the smoothness of others; I loved the variation in texture on a single piece of rock and the strata showing the history of its creation. A small piece of rock could mirror a vast part of the landscape. A visit to Southern Ireland last year reawakened my childhood delight in these found objects: mini-images of a wider scene, sometimes suggesting water, trees, even moon and stars. The Irish coast, with its standing stones and lichen-covered rocks, was the original inspiration for these latest pots. The shapes are freely, though carefully, constructed and decorated. Raku is an ideal way to complete them, producing the varied qualities of line, colour and texture to reflect the interaction of the elements that has become our natural surroundings. |
Raku - New Directions |
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