sea and cloud

soda I’ve been firing work for Kathrin Bohm to take to Leipzig, for the International Village Show she’s curating and showing work in. She brought me these Blackcurrent Sodas, made from currents gleaned after the main harvest, by people from the East End who historically helped out on Kent farms – with fruit as well as hops. It’s a fascinating community project, making all kinds of links.
GeorgeShaw I can remember once gleaning 52lb of blackcurrants from a farm where the harvester for Ribena had missed the last bush on each row. Seeing gleaning brought into art reminded me of that moment of recognition when I first saw George Shaw‘s paintings: suddenly, here’s my own life in art.
Kathrin, at, creates art with rural communities. It made me realize that the urban/rural divide is very loaded in the UK: certainly politically, but also culturally and historically. Maybe it’s because cities have proportionally more young people. It seems to mirror the crude urban contemporary art/traditional rural craft divide that’s also prevalent. My own work sells 10:1 rural:urban. What do you think? Is a love of the urban a stage in life, a necessary unsentimentality, or the inevitable future?
February Duc de BerryI’ve been reading Woolwinding, a great blog currently inestigating coloured wool. I couldn’t resist this image, February from the Duc de Berry’s Book of Hours, that she was using to show the incidence of black sheep. It encapsulates my own interest in the rural – there’s wattle fencing, bee-skips, wool, clothes, as well as an interesting insight into the lack of undergarments in those times.
clay resist tests In the workshop I’m continuing to experiment with shellac resist. It’s a bit runny: but I’ve started working with the runs, so allow some ornamentation on the letters. It all looks more sky than sea to me, so I’m moving to sky poems, away from sea ones. Although the shipping forecast encompasses both, of course!
The first glazing of these huge letters on pots is in progress as I post, so I am waiting to see how they work out glazed – the colour of the shellac is a bit unrepresentative of final appearance. With these large letters, it’s also much harder to show what the pot looks like in 2D: so I’m experimenting with quick animations.
animation of cloud pot
You may need to get the animation to load by clicking ‘view in browser’, if you usually get these posts by email.
I’ll try some more with the final pots, with a tripod as well. Maybe mock up a contraption that allows time-lapse images as the bowl turns?

3 responses to “sea and cloud

  1. I love the enormous letters, Carys! And I agree, the runs add freedom to the form – rather as your handwriting does to the other incised pots. Looking forward to seeing them fired. R

    Liked by 1 person

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