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  • EVANS, Mary-Jane

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    Mary-Jane Evans graduated with a First Class B.A. Hons in Three Dimensional Design in Ceramics from the University of Creative Arts, Farnham in 2004.

    After graduating Mary-Jane Evans has show her work not only in the UK but also in Tokyo where she was the winner of the International Takifuji Art Award in 2004. Mary-Jane Evans has also won many other awards, most notably the City & Guilds ‘Futures 100’ competition in 1999.

  • GRAHAM, Janie

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    The art of up-cycling, deconstructing and re-imagining the book.

    Books as everyday commodities designed to hold information, are, unless of historical importance more often than not discarded as cultural detritus.  Some book artists concentrate on the abstract quality of a book’s shape and its original text may become irrelevant to the final sculptural form.  I prefer to take inspiration from the title and subject matter of the book to add an exciting dimension allowing the combination of language and emotion with texture and structure.

    I think of an ‘altered book’ as one which has been changed and modified by creative means into a mixed-media work of art.  I see the book as a tool to explore and communicate ideas in a very individual way.  Thus the altered book regains value and becomes a vehicle for the construction of narratives.  It may be  ‘read’ in an entirely new way.

    Using scalpels, tweezers and surgical instruments as my equipment, discarded books are lovingly vandalised back to life so they can assert themselves against the culture that threw them away.  My work is playful and displays a light witty character but also demonstrates a sense of craft and originality.  A passion for craftsmanship is immediately obvious in the attention to detail.

    In most cases I like to retain the suggestion of the book shape and manipulate the pages by folding and cutting portions of text.  I also like to extend the text beyond the confines of the structure.

    Enclosing the work in a bell jar proposes the book as a singular, precious object,  even as mysterious.  It becomes an object of curiosity and suggests the idea of a ‘collection’.


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    Alex Johannsen spent her formative years reading comics, lost in a world where anything was possible and nothing that tragic happened. Her work is an extension of this concept; creating things that aren’t real but can exist in her own world.

    “When creating my dogs, I need to be able to believe that they could come to life. Each one that I create has to have its own identity. It is not until the final firing, when the eyes are glazed, that I can see the ‘character’ coming through. That is the best bit” – Alex Johannsen.

  • MENEAR, Keith

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    Keith Menear has spent his professional career as a Chemist in the pharmaceutical sector, however twenty years ago he was introduced to pottery by his wife, since then his hobby has become a full time preoccupation. Keith Menear’s interests lie particularly with glaze chemistry on stoneware and raku clay bodies.

    The stoneware work is produced on a smooth white body and is crafted by hand throwing on a foot operated momentum wheel. The forms are intended as contemporary bowls and vases. The glazes are all developed in the studio and fired at the more energy efficient temperature of Cone 6.

    The Raku ware typically has unglazed areas to expose black smoked regions which contrast with the glaze. The immediacy of the process also allows manipulation of the glaze chemistry through the addition and spraying of metallic salts.

    Keith Menear is an associate member of the Craft Potters Association, a Fellow of the Royal Society of Chemistry and a member of the Southern Ceramic Group.

  • MUIR, Jane

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    Jane Muir studied ceramics for seven years achieving a first class BA (Hons) at Central St Martins School of Art and an MA at the Royal College of Art. On leaving the RCA in 1992 she took a three year post as artist in residence in a sixth form college. During this time her work was exhibited widely, notably in Ceramic Contemporaries, V&A, 1993 and a solo show at the Molesey Gallery, Surrey, 1995.

    In 1997 Jane Muir was awarded a Crafts Council Grant which helped in setting up her present studio in Peckham, London. A commission for Bishop’s Stortford Library gave her an opportunity to work on a large scale. All Jane’s work is hand-built and hand-painted using stoneware glazes. Scale varies from small intimate pieces to large-scale garden sculptures.

    Inspiration comes from various sources and has remained fairly consistent throughout her career. Fine artists such as Peter Blake, Eduardo Paolozzi and Elizabeth Frink through to more traditional crafts such as the work of the Staffordshire Potters have influenced Jane Muir’s work.

  • POCOCK, Dinny

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    “I’m always on the lookout for ‘small joys’ – that’s where ideas hide.  Seeing a blackbird intently pecking at the ground recalls the motion of an old sewing machine and sets my mind to thinking, how could these two images be combined to create a narrative?

    As a child I valued ‘treasures’ that could travel with me in a pocket or cigar box – seed pods and sea shells, marbles and pipe-cleaner people.  It’s no surprise that the felt pieces I make today are often small enough to pick up and hold in the hand.

    I studied at Camberwell School of Art in London in the 80’s, gaining a degree in Ceramics.  In the following years I exhibited ceramics and watercolours in the South West, and in London galleries including RWS ‘Open’ exhibitions, The Singer and Friedlander/Sunday Times Watercolour Competition at the Mall, and at Chris Beetles Gallery.

    The technique I developed at Camberwell of sculpting paper-thin layers of porcelain over wire frames has more recently transferred into needle-felting; the process of creating a bird out of a wilful bundle of wool or deadweight of clay seems to me fascinating and absurd in equal measure.

    Of utmost importance to me is that the essence of the subject is realised; I like to capture the moment of stillness between movements, the moment when something extraordinary might happen.”

  • SAAG, Ingrid

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    I was born and grew up in Georgetown, Guyana.

    I trained in illustration at art colleges in London and Brighton. This led to a busy career for some 20 years as a freelance illustrator in publishing, packaging and advertising. Clients included Sainsbury’s, Marks and Spencer, IBM, The Natural History Museum, British Rail, National Rivers Authority, Dulux, Time Life and Readers Digest.

    Meanwhile I began to develop skills with clay, studying under established figures such as Jill Crowley, Caroline Whyman and Tessa Fuchs and started exhibiting my ceramics in 1994.

    I set up my studio in Kingston Upon Thames in 2005 and in 2007 was selected for professional membership of the Craft Potters Association. My work has been sold in the UK and worldwide.


    Clear, vivid colours, an integral feature of my work, were probably instilled into my psyche during my childhood growing up in the tropics.

    Colour has a powerful therapeutic action, which can have a healing and rebalancing effect for both the artist and the viewer. Every day we take in colour energy in various forms through the clothes we wear, from the colour schemes in our homes and offices, and even by the colour of the foods we eat.

    For example, blue has a calming influence, relieves inflammation and can be helpful for dealing with hypertension and insomnia. Orange is the colour of imagination, vital energy and optimism, which can stimulate the respiratory system and an under-active thyroid gland. While yellow, the colour of the mind and intellect, can promote clear thinking, the ability to think on a philosophical level, and also stimulate the lymphatic system and intestinal tract.

    It is possible that the colours I am drawn to use on any given day are an emotional or psychological response to how I am feeling.

    The human figure is a favourite subject, often used in the context of my life experience and interests, or with reference to poetry and other written material. Some pieces are inscribed with poetry describing the passions, lusts, furies and joys inspired by human love.

    Landscape and the natural world can also be a starting point for some of my designs.

    My vases and bowls are hand painted, either one-offs or made in small editions. They are slip cast with white earthenware clay and often altered after removal from the mould, to produce a highly individual art piece.

  • TOMLIN, Ali

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    Porcelain has both a purity and fragility, but also a surprising strength. It is often finished with a hard glaze, but I love the tactile quality of the unglazed, sanded surface, which is smooth and silky to the touch, encouraging you to follow the lines and shapes around the forms and feel the indentations made by the markings. Most are glazed on the inside, rather like a shell that is hard and glossy inside but sanded to a smooth finish by the sea on the outside.

    Simple marks, both natural and man made and usually accidental are what I return to again and again. These are often linear, graphic or randomly textured; leafless trees in winter, markings on pebbles and shells, snail trails, a child’s drawn line, worn out paint.

  • WARNE, Georgina

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    Georgina Warne completed a degree in Ceramics and Glass from Birmingham and an MA, with distinction, in Ceramics from Cardiff. She also studied in Papua New Guinea on a Commonwealth Foundation Fellowship in the Arts and Crafts.

    The natural world, especially that of the British countryside, is an inspiration for the artist Georgina Warne. This becomes evident upon seeing the many facets of her highly individual work; original porcelain sculptures of hares and hounds each embellished with cobalt script and associated motifs – stoneware owls, raku fired, curious and compelling – upscale drawings in charcoal and crayon of favoured creatures – three dimensional hangings on hand made paper and suspended from bramble branches, of birds flying free and animals racing and chasing.

    Print making is an important aspect of this artists work; Georgina Warne’s dry points involve the scribing of the desired images onto a plate, of copper and prespex, with a diamond tip. Once the drawing is complete Georgina then prints each, using her own press, from plate to paper. The editions are always low, often below 50 and sometimes just 5 or 10. Georgina hand colours every single print she produces with watercolour washes, in doing so every-one has a unique quality.

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