Visiting Artists Autumn 2019
September 16th - November 10th
Richard started printmaking late in life. After a career in journalism he joined the Dartington Print Workshop as a complete beginner in 2010. It was a steep learning curve, but he stuck at it and eventually started selling his prints. Richard became a member of the Devon Guild of Craftsmen in 2016.
Richard lives in a wooded landscape on the edge of Dartmoor, and feels lucky to be surrounded by trees. He has a small studio at home with my own Hawthorn press.
Richard is drawn to the simplicity of silhouettes and the complexity of branches. He enjoys all stages of the making process, from drawing to carving to printing.
Richard also make books, using his prints on the covers and enjoys experimenting with other forms of printmaking, including drypoint, collagraph and etching on lino.
Sue’s work directly reflects her year-round fascination with natural history, particularly plant-life when it's wild. Over the months, seasons and years she has been building up a library of records in the form of moulds of pressed flowers, twigs, seeds, leaves, berries and feathers.
Sue feel’s privileged that something as beautiful, but so flimsy and transient, as a flower can be given more permanence by her ceramic work.
As well as through the colouration, the methods she uses ensures that each piece is a separate and individual work of art rather than using 'mass-produced' identical moulds. Everything is twice- fired, the colour being applied before the second (glaze) firing at just under 1100 degrees C.
The painted stained glass Annie makes shows the English countryside, in all its forms. Landscape in particular is a real inspiration to her and capturing its image in light is thrilling for her.
Annie’s home is in the Cotswolds so you will see this influence on her work, but she also has an attachment to the landscapes of the River Severn, The Forest of Dean, the Malvern Hills and West Penwith in Cornwall.
In her work Annie use’s the same methods as stained glass painters of the early 14th century. Shades of black Glass Painter’s Stain are applied to coloured glass creating another dimension by controlling the amount of light coming through the glass – almost painting with light. This painted work is then kiln fired before all the glass fragments are fitted together. The quantity of paint allows enough light through the glass to cast refracted pools of colour, a quality she considers essential for the vitality of stained glass.
Karen’s aim is to create visually satisfying objects for domestic environments that have a quality of surface and pattern, and that appeal to our sense of touch. Her process involves layers of bold and playful decoration while retaining the inherent warmth of red earthenware clay.
Simple forms are made on the wheel, handbuilt or using plaster moulds. Karen collects imagery from daily life and nature to make paper collages and, before the first firing, coloured slips are brushed on to the ‘leather hard’ pieces using cut paper stencils. Newspaper lettering on the final work echoes this process. Layers of applied slip produce a subtle raised decoration and can be drawn through to reveal the red clay beneath. A second glaze firing is followed by a third for the application of printed decals.
Charlie High has an avid interest in the environment and organic forms and this heavily influences her work. The pieces are visually pleasing and, thanks to a variety of textures, tactile too. Charlotte works mainly in silver, but with the careful addition of 18 Carat gold, semi precious stones and beads to add touches of light and colour. The jewellery is designed to subtly delight not just the wearer, but the observer too. Based in Brighton, Charlotte's jewellery is available in a selection of galleries across Europe.