Sunday 30 April, 11 – 12pm
£10 in advance, £15 on the door Booking
With multiple publications to his name, including co author with Christie Brown on “Contemporary Clay, Museum Culture” (Routledge 2016) Julian Stair’s is a formidable knowledge on the history, symbolism and narrative of clay’s iconic form.
We are delighted to welcome Julian to Messums Wiltshire as exhibitor and lecturer. This talk is a must for both those with in depth knowledge as well as those who are coming to the subject for the first time.
The talk will run for approx 45 minutes with a question and answer session to follow.
About Julian Stair:
Born 1955 in Bristol Julian is an English potter, academic and writer. He makes groups of work using a variety of materials, from fine glazed porcelain to coarse engineering brick clays. His work ranges in scale from hand-sized cups and teapots to monumental jars at over 6 feet tall and weighing half a ton.
Stair has exhibited internationally over the last 30 years and has work in over twenty public collections including the Victoria & Albert Museum, British Council, American Museum of Art & Design, Hong Kong Museum of Art and the Boymans Museum, Netherlands. In 2004 he was awarded the European Achievement Award by the World Crafts Council for the project Extended Inhumation and received a Queen Elizabeth Scholarship to research the making of monumental ceramics at Wienerberger’s brick factory in Sedgley. In 2008 the Art Fund purchased Monumental Jar V for Middlesbrough Institute of Modern Art.
His most recent project was the solo exhibition Quietus: The Vessel, Death and the Human Body which was commissioned by mima and supported by Arts Council England. The exhibition addresses the containment of the human body in death and features a series of funerary works, from cinerary jars to life-size sarcophagi, so of which are on show as part of the exhibition at Messums Wiltshire.
Sunday 30th, 2:00pm – 3:00pm
£10 in advance, £15 on the door Booking
Leading Academic and thinking Professor Paul Greenhalgh leads us through some of the past and present thinking and what this might tell us about the future.
Professor Paul Greenhalgh is director of the Sainsbury Centre for Visual Arts at the University of East Anglia, Norwich, a position he has held since 2010. He was educated at Smithills Grammar School in Bolton, the University of Reading and the Courtauld Institute of Art in London. From 2006 to 2010 he was director and president of the Corcoran Gallery of Art and Corcoran College of Art and Design in Washington, D.C. He has also been Head of Research, and Deputy Keeper of Ceramic at the Victoria and Albert Museum.
His published work to date includes:
Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World’s Fairs, 1851–1939. Manchester: Manchester University Press, 1988.
Essential Art Nouveau. London: V & A Publications, 2000.
Art Nouveau: 1890-1914, edited by Paul Greenhalgh. Washington, DC: National Gallery of Art, 2000.
The Modern Ideal: The Rise and Collapse of Idealism in the Visual Arts from the Enlightenment to Postmodernism. London: V & A Publications, 2005.
The Persistence of Craft: The Applied Arts Now, and Art Nouveau 1890–1914.
He is currently working on a forthcoming publication on ceramics due out this Autumn.
GENUS: Small Works & Concepts from the Studio
Friday 12 May – Sunday 4 June 2017
ARTISTS TALK: Saturday 13 May 2017, 11:00am Booking
Another title to describe this collection of works might have been simply ‘Maquettes’. In many ways some of them are. Smaller works designed to illustrate the capability and potential of the larger scale, but it all sounds rather lifeless, and as a word, it takes us away from the point of these works in Laurence Edwards’ creative process.
They are evolutions and explorations often to their own end around a central theme. A host of ideas springing from the same point of origin, related but evolving. A Genus of ideas urgently pushing like nature for existence by evolution. There is no sense in Laurence’s work that one has succeeded better than the other, no search for a superior, just manifestations of the way that ideas, like nature, constantly evolve…whether we want them to or not.
Laurence’s work aims directly at the connection we have to the earth, as representations of our own identity, which they unquestionably are. They remind us of our clay origins, and that life is both burden and celebration.
One of the few sculptors who casts his own work, Laurence Edwards is fascinated by human anatomy and the metamorphosis of form and matter that governs the lost-wax process. The driving force behind his work is bronze, an alloy that physically and metaphorically illustrates entropy, the natural tendency of any system in time to tend towards disorder and chaos. His sculptures express the raw liquid power of bronze, its versatility, mass and evolution, and the variety of process marks he retains tell the story of how and why each work came to be.
Christopher Le Brun PRA praised Edwards specifically for his ability to blur the boundaries between man and nature. And organic forms continue to literally influence his work, be it Suffolk grasses mixed into the process clay, or cast into elements that transform his figures into something allegorical or mythic.
Based in Suffolk, he trained at Canterbury College of Art and then at the Royal College of Art, where he studied bronze casting and sculpture with Sir Antony Caro. After winning a Henry Moore Bursary, the Angeloni Prize for Bronze Casting and an Intach Travelling Scholarship, he studied traditional casting techniques in India and Nepal, an experience that not only influenced his treatment of form and technique, but also gave him the necessary tools to establish his own atelier.
Saturday 29 April 2017, 12:30pm Booking
We are delighted to welcome the BBC’s GREAT POTTERY THROW DOWN finalist and part time illustrator Clover Lee to a unique 50 minute session on our wheel as part of the Makers Festival. Join, watch, learn and ask questions as Great Britain’s leading potter Clover Lee take you through the experiences and steps for creating beautiful vessels on the wheel.
Clover Lee was born in a small town in southern China – and moved to Wales in 2003, to study accountancy.
The 33-year-old moved to London after graduating, and her interest was pricked when Clover attended an evening class at Clapham Pottery in 2011.
Clover is proud of her Asian heritage and creates a mixture of functional and stunning items – such as bonsai planters, decorative vases, sake sets, mugs and tableware.
She says she is “inspired by the traditional art and culture of China and Japan”.
As well as pottery, Clover is a self-taught illustrator.
She has been practising manga drawing, an Asian-style comic similar to anime, from the age of 12.
Clover also regularly attends comic conventions around the UK.
Saturday 6 May 2017, Booking
Join us for a studio visit to artist Bridget McCrum ahead of her solo exhibition for Messums Wiltshire this summer.As well as a highly regarded sculptor, Bridget has always considered the landscape and setting to be a relevant and enjoyable part of the creative process of sculpting. Her garden is one of the real pleasures for any one interested not just in works of art, but also landscape and context in the garden. Set above the river Dart her garden is full of works from her earliest years to latest pieces, with a consideration given to space and how to place them.
Transport to Dittisham is available by separate arrangement.
Meeting time: 11:00am
Bridget McCrum was born in 1934 and lives and works in Devon and Gozo in Malta. She studied at Farnham College of Art, training as a painter with Lesjek Musjynski, in the 1950s. She came to sculpture in her forties and from 1980 began to work primarily in stone, having learned her craft from John Joeku and Andrea Schulewitz on the South Downs. She has exhibited extensively and recent selected solo exhibitions include One Canada Square, Canary Wharf, 2014 Messum’s, London, 2011 Messum’s, London, 2008, Messum’s, London, 2002, St James Cavalier Art Centre, Malta. Her work is included in many international collections including: Minnesota Landscape Arboretum, Rolls Royce Aero Engines, Bristol, Lismore Castle, Co Cork, HSBC, Malta, Spencer Stuart, London, and the Golden Door Foundation, San Diego. Her work is held in private collections in the USA, Canada, the Middle and Far East, Europe and the UK.
Working primarily in stone, she also works directly in plaster and translates both of these materials into bronze. McCrum’s work is distinguished by her preferred subject matter: the juxtaposition of fauna, notably birds, with ancient artefacts such as tools and ceremonial weapons. She perceives a synergy between nature and the tools of early industry found on archaeological sites, drawing parallels between these primitive objects and the curve of a wing, or a texture found on very old stones. These inform her work and are present in her large-scale pieces.
Saturday 29 & Sunday 30 April 2017
Talk at 11:00am each day followed by a demonstration, open to all
We are delighted to have local sculptors from Coade Ltd with us for the Makers Weekend. There will be a talk open to all at 11:00am each day followed by a demonstration of how they work that will continue throughout the day.
At COADE the team of highly skilled craftsmen recreate classical sculpture, contemporary pieces and private commissions in Coade stone. Created from stoneware using a secret recipe and then fired at a very high heat, Coade stone makes it possible to produce sculpture with the finest detail that is also incredibly durable and has the appearance of stone.
First developed in the 18th Century by Eleanor Coade, a highly successful businesswoman of her time, she was employed by every eminent architect of her day. Her work can be found in all parts of the British Isles and has been exported around the world. Because Coade stone is remarkably resistant to the harshest weather, most of her pieces are in as good condition now as when they were first made over two hundred years ago.