Festival 2018

Visiting Artists Festival 2018

May 14th - July 15th

 
 
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Stephanie Cunninghm

My work is mostly influenced by animal forms and I particularly love exploring my relationship with horses and dogs, having spent much of my childhood in Scotland growing up with them. I have always had animals around me and the connection I have with them is the essence of my work. Many years of observing them and the deep love and respect I have for them, is what I hope to express in my work. 

The ceramic forms I make are stylised to emphasize power, elegance and grace or to convey a familiar holding of the body or movement of the head, perhaps a comical movement or a deep sense of peace in a resting form.

 
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Rowena Park

I trained at Brighton University where I followed a 3d design course in mixed media setting up my own workshop in 1982 when I graduated. Since then I have continuously sold to shops and galleries in many countries.

I work with clear acrylic which is shaped and bent using grinders, saw cuts and polishing grits to achieve the basic shapes , and transparent coloured lacquers combined with gold leaf create the vibrant effects, which are then “viewed” through the acrylic layer. The clear acrylic enhances the jewel like quality of the combination of lacquers and gold leaf by focusing the light into the acrylic and bouncing off from the now coloured gold layer. 

 

 
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Andrew Pentland

I love the entire process of creating something beautiful to use from a lump of clay; and I take full responsibility for the whole making process from preparing the clay, glaze application, selecting the method of firing as well as the final position each piece takes in the kiln. It is for this reason that I enjoy kiln building projects as I find the bond between making, kiln building and the process of firing fascinating. This direct involvement often becomes an overpowering catalyst in my design process, and to have control of both making and firing is an absolute must for me as a potter.

 
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Anne Morgan

Anne is a well established award winning jeweller supported by the Arts Council of Wales and based in South Wales.

In October 2015 she opened her first Gallery dedicated to contemporary jewellery in the seaside town of Penarth, close to Cardiff Bay. She exhibits her own work alongside that of more than 30 other makers with ranging materials and mediums.

Anne enjoys silver’s potential for texture and her ranges explore the relationship of look and feel in the materials she uses. Anne’s specialism in her jewellery is to use a technique called reticulation. Her creations proudly show off their origins through workshop experimentation. This is what makes her reticulated silver surfaces particularly unique: each marks a precise moment in which she withdraws her flame from part-liquefied silver. 

 
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Andrew Waddington

Having grown up in a village in the vale of Aylesbury and later a fishing village on the South coast of Cornwall I have had from an early age a strong sense of place, this combined with my interest in nature is at the heart of my work.

After attending the Kings School Gloucester I studied at Dyfed and Falmouth Schools of Art. On leaving I lived in the North Essex village of Great Saling for a year before returning to Cornwall in the early 80's, firstly to a farm on the North coast and then to Cotehele in the Tamar Valley where I now have my studio.

 

 
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Ed Willis

“I think of my sculptures as suspended animations, lying at rest, waiting for a passing breeze to breathe life into them.”

Edward has a degree in philosophy from Bristol University and in his mobiles and kinetic sculptures he explores ideas of fragility and strength as well as balance and resolution. Drawing inspiration from the natural world and the human figure, his work is often suggestive of skeletal structures, in the abstract. The pieces have a sense of harmony, rhythm and progression and are intended to be enjoyed both as elegant, striking forms as well as objects for contemplation and meditation. Whilst each sculpture outwardly appears to express a settled tranquillity, it actually relies for its existence on the internal tensions resulting from the pull of one part against every other. Thus, the whole is comprised of individual elements that work in collaboration to produce a system in a kind of dynamic equilibrium.