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Personal information
I live and work in Wales, surrounded by majestic scenery overlooking the Rhinog Mountains. No-one could ask for a more inspirational setting.
Born and brought up in the south of England, I returned there to work after training as a librarian in Aberystwyth. My first experience of clay was at an evening class, and I was so captivated that in 1986 I gave up my career and moved to Harrogate to study ceramics full time. I set up my first studio in Harrogate and continued to live and work there until 1996, when I moved from Yorkshire to my current home and studio in Wales.
My work is available direct from my studio (but please telephone first for an appointment), from a number of galleries and outlets throughout Britain, or at events I attend in person. I can also supply by post.
| 1986-88 |
Full time studio ceramics course - Harrogate College of Arts and Technology leading to BTEC in Design (ceramics) |
| 1988 |
Established first studio in Harrogate |
| 1988-96 |
Taught ceramics part-time at Harrogate & District Society for the Blind |
| 1996 |
Moved to Wales and established new studio at Trawsfynydd, Gwynedd, North Wales |
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Exhibition highlights |
| 1988 |
Royal Baths, Harrogate. |
| 1989 |
Shipley Arts Gallery, Gateshead. |
| 1990 |
Newcastle Arts Centre, Newcastle upon Tyne. |
| 1991 |
"Sunrise in the West" - a series of exhibitions celebrating the Japan Festival and held at Shrewsbury, Milton Keynes & Oxford |
| 1992 |
Yokyo Art Hall, Tokyo, Japan |
| 1993 |
Stamford Arts Centre, Lincolnshire. |
| 1994 |
Collins Gallery, University of Strathclyde. |
| 1995 |
Dunham Massey, Altincham. |
| 1996 |
Harley Gallery, Welbeck. |
| 1998 |
York City Art Gallery, York. |
| 1999 |
Cliffe Castle, Keighley |
| 2000 |
Throstle Nest Gallery, Halifax |
| 2001 |
North Light Gallery, Huddersfield |
| 2002 |
Platform Gallery, Clitheroe. |
| 2003 |
National Library of Wales, Aberystwyth - solo exhibition |
| 2004 |
Oriel Cambria Gallery, Tregaron |
| 2005 |
Casa Foa, Buenos Aires, Argentina |
| 2006 |
Oriel Ynys Môn, Angelsey |
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St David's Hall, Cardiff |
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Theatr Clywd Cymru, Mold, Flintshire |
| 2007 |
Gwynedd Libraries Craft Showcase Tour - solo exhibition at 4 venues |
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Helfa Gelf exhibition, Llandudno |
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Nant y Coy Arts, Treffgarne Gorge, Pembrokeshire |
| 2008 |
Craft Centre & Design Gallery, Leeds City Art Gallery |
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Royal International Pavilion, Llangollen |
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| Selected to take part in the following events: |
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Clay Art, Denbigh, North Wales. |
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In House Design for Living Fair, Landmark Arts Centre, Teddington, Middlesex. |
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Potfest in the Park, Hutton in the Forest, Penrith, Cumbria. |
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Potters' Market at the Gladstone Museum, Longston, Stoke-on-Trent. |
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Tredegar House Contemporary Ceramics Fair, Tredegar House, Newport. |
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| Publications including my work: |
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Samurai undressed by Jacqui Carey. Carey Company, 1995 |
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Colour in clay by Jane Waller. Crowood Press, 1998 |
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The complete potter by Steve Mattison. Apple Press, 2003 |
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Potfest in the pens x 10, 2003 |
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The potter's dictionary of materials and techniques by Frank & Janet Hamer.
A & C Black, 2004 |
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Cartref.Casa Foa, Buenos Aires, Argentina, 2005 |
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Member of: |
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The Potters' Gallery - (North Wales Potters Co-operative Gallery and Information Centre Ltd) |
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| Working Methods - Porcelain agateware: |
I work in porcelain, introducing colour into the clay itself to produce a range of decorative agateware: a traditional technique used in a new way. I enjoy exploring the nature of the porcelain I am currently using, which is translucent and very white. This means that I can create very crisp colours and enables me to work with very thin sheets of clay.
Basically, I colour some of the porcelain using stains and oxides, and then incorporate this coloured clay into the white body to produce the patterns that I want. I cut a slice from the block of patterned clay and roll it carefully before moulding it to form my vessel.
I glaze only the rims, using a bronze-gold glaze applied to the dry pot before firing. I once-fire in an electric kiln, and wet-sand the resultant work to achieve a satin smooth finish, which has a pleasing tactile quality.
Because my work is very thin the pots have to be supported in the kiln - using a bed of silica sand for each one. Even so, the stresses of the firing can introduce another element of surprise on opening the kiln.
I enjoy the mixture of part control and part serendipity of this making method: I control what colours I use, what proportions, the patterning - and then the random element comes in and every pot will be individual.
My working methods, quite different from those used by most other potters, have evolved over several years and produce highly individual ceramic pieces. I am rarely content to stay where I am from a creative point of view and look forward to developing my work in the future.
Other work:
In order to provide lower priced items of a high quality I make other types of work using similar techniques. These include:
• earrings and cufflinks combined with commercially available findings
• earrings made with my own surgical steel fittings, plus matching pendants.
• ceramic wind chime mobiles
Philosophies:
Do I have any? I'm not really sure that I do. What I do have is a need to create. I like the challenge of mastering a technique and making it my own, and the challenge of designing within the limitations of that technique; particularly within my chosen limitations of a sheet of patterned clay. And I have a desire to give others the opportunity to enjoy the work that I have enjoyed making. I am always glad to pass on any knowledge that I have, so that others can build on my techniques and develop them in their own way. |
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