A collection of early years works for you to enjoy. All mediums and styles
This is an organic, seashell-shaped piece made from grog clay. It has a white tin-oxide glaze with iron-oxide details. It began as a thumb pot with a clay coil around the rim, then shaped into this form. I made my first meaningful pottery at age 10 and enjoyed it. It is 15 mm high.
I liked buildings and architecture from a young age. I don’t remember the assignment, but I usually made work I enjoyed. This castle is covered with tin oxide glaze. I was 12 then.
In the 1970s my adventurous art teacher often took us to IKON Gallery in Birmingham, where we wandered through provocative contemporary shows. I vividly remember an exhibit of road networks shaped in marzipan ribbons, delicate and strangely architectural. Years later I revisited that memory by making my own versions in stoneware clay, translating sugary fragility into fired, earthy forms.
In the 1970s my adventurous art teacher often took us to IKON Gallery in Birmingham, where we wandered through provocative contemporary shows. I vividly remember an exhibit of road networks shaped in marzipan ribbons, delicate and strangely architectural. Years later I revisited that memory by making my own versions in stoneware clay, translating sugary fragility into fired, earthy forms.
In the 1970s my adventurous art teacher often took us to IKON Gallery in Birmingham, where we wandered through provocative contemporary shows. I vividly remember an exhibit of road networks shaped in marzipan ribbons, delicate and strangely architectural. Years later I revisited that memory by making my own versions in stoneware clay, translating sugary fragility into fired, earthy forms.
In the 1970s my adventurous art teacher often took us to IKON Gallery in Birmingham, where we wandered through provocative contemporary shows. I vividly remember an exhibit of road networks shaped in marzipan ribbons, delicate and strangely architectural. Years later I revisited that memory by making my own versions in stoneware clay, translating sugary fragility into fired, earthy forms.
