My work speaks about the landscape of change and transition and becomes part of it Representing light, absorbing it and changing it – employing the processes of alchemy, wind, erosion and time in its making.
Simon Gaiger, MRBS
Simon Gaiger’s work derives its inspiration from the hills and valleys surrounding his home in West Wales. His deeply carved wooden ‘Field Form’ sculptures describe both figure and landscape. Great attention to detail is applied in his welded metal works, giving patina to every screw head or hinge, and accentuating the antiquated colouration of each sculpture.
Many pieces have moveable parts and suggest a use, inviting the viewer to respond by re-arranging, touching or changing the form. Obvious tactile elements are either offered up or shielded. Colour is used simply, either to accentuate a play of light or as distinct element to emphasize particular aspects.
Pine Feroda comprises four individual printmakers (Merlyn Chesterman, Julia Manning, Ian Phillips and Judith Westcott) who make prints as a group. Collectively they create their distinctive prints, inspired by the extraordinary coastline of Great Britain. Craggy rock formations, tumultuous seas and the play of light upon water are all explored through their unique collaborative working practice.
Despite having collaborated for less than three years, they show their work widely, exhibiting at the Royal Academy Summer Exhibition in 2015, 2016 and 2017.
Merlyn Chesterman, RE
I am a woodblock printmaker based in Hartland, North Devon. I trained in Fine Art at Bath Academy of Art, Corsham, and subsequently lived and worked in Asia for many years. I recently completed a residency at Guanlan Print Base, China. My work is made as an emotional response to my environment, and I am interested in achieving a semi-abstract dynamism. I have exhibited at the Royal Academy, at the Bankside Gallery and the Mall Galleries, London, and in Shanghai and the US. I have been a demonstrator in printmaking at Art in Action.
I have been working on large scale ceramic forms which I have placed in the landscape. My main aim is that the work should not compete with the landscape, but evolve within the environment. With this in mind I have introduced other minerals into the Raku ceramic surface such as iron and copper. With the elements of time and erosion, the individual piece takes on its own developing surface.
I’ve always been fascinated by nature and in particular butterflies. To me, there is something captivating about that moment when a butterfly stops to let an onlooker admire its form. Using this as my stimulus I wanted to see if I could create something that was both contemporary and visually stimulating, which could be displayed on the wall in the home. I decided to create a flight of butterflies. I love the idea of bringing nature indoors and made a conscious decision to make a piece large enough and intricate enough to be looked at daily, but always offer something new to see.
I started making pots in 1987 with Toshiko Takaezu while at Princeton University. At the same time I also started studying Japanese which came flooding back from four years in Tokyo as a child, and within a few months I knew that I wanted to go to Japan to become a potter. So, after graduating from Princeton Magna cum Laude in East Asian Studies in 1990, I went to Japan and found an apprenticeship with Takao Okazaki in Yamagata. I lived and worked with the Okazakis for 2 years and was introduced to many Japanese ceramic techiques and styles. It was here that I honed the skills to express my Japanese sensitivity with clay. It was also in Yamagata where I first came across firing with wood which has remained a passion ever since.
Adam records his observations through sketches and digital photography which he then works from in his studio with paint, fabric and thread to create truly intricate and fascinating finished pieces.
Each piece of his work is totally unique and often incorporates a number of techniques, which will be worked on top of for several weeks and months. This process enables him to create the embedded textures and interesting colours and surfaces. Adam believes his work is original, fresh, energetic and intriguing to the viewer. People are drawn into his work and cannot resist getting closer to look at it in more detail.
Joe Morris is an artist based in North Cornwall working with ‘tadelakt’ a centuries old form of lime plaster to create quiet and compelling contemporary art.
Tadelakt originates from Morocco and is traditionally used as a wall covering. Joe applies it with a plasterers trowel, burnishing it with a polishing stone to achieve a smooth, solid finish. The transformation of the material – from powder to fluid to ‘stone’ creates a subtle and enigmatic effect.
My work is an exploration into material and place observing in particular processes of interdependence between water and geological change. The intention is to capture a moment in a process of change and to reflect upon the physical and metaphorical aspects of a place as a vessel with containment.
FIONA J SPERRYN
Recurring themes in my work include close observation of the natural environment, biodiversity, evolution and sustainability. There is personal experience embedded in each piece of artwork. I love to draw from life or my own photographs and the ideas behind the work come from being outdoors, in contact with an environment and the elements.
My love of weave started at age seven when I received my first loom, but it wasn’t until after a Textile Design degree at University College Falmouth and during an MA at the Royal College of Art that I found the perfect tool for combining my love of drawing with weave – a jacquard loom.
My purpose is to find balance, harmony and grace within the piece, to give the metal a life and rhythm of its own. During construction I carry my metal around with me , moving it from one end of the studio to the other, getting to know the individual metal weight distribution and where best to place it, any addition or weld constantly changing the balance of the work in progress.
I have lived and worked near Port Isaac in North Cornwall with my beloved family for around twenty years, I attended Lincoln college of art and design in the early nineties, though I am on the whole, self taught.
My work is primarily concerned with emotion and the physicality of working with a material, realising its properties and utilising them.