The exhibition combines the new fabric language of Claire Cawte, the exploration of emotion and memory in stitch by Ruth Harries and the curious trinkets and tableaux from the secret treasure trove of Becky Adams.

Running Stitch offers an opportunity to explore a diversity of techniques and processes and celebrates the wealth of talent working within contemporary textiles in Wales

Seeing new work by Becky Adams is always a highlight, and I’m looking forward to seeing the work of Claire and Ruth as well.

Go and see it!

http://www.lgac.org.uk

Becky Adams Becky is a collector of stories; they become an integral part of her life and are ingrained into the making of her work through a sophisicated use of stitch, vintage fabric and antique ephemera. There is a subtle and respectful glance to the study of the human condition; each piece is aware of its past, its present and its untold future. Through the natural language of her work, each piece becomes an embodiment of a story preserved within each careful stitch.

Claire Cawte Claire Cawte’s work has an affinity to the natural environment, suggesting calm and tranquil inspiration. She has always identified with the gifts of nature, choosing to use solely plant dyes and for this latest range of work, British Fleece. Derived from the world of organic form and growth Claire Cawte’s work is free flowing, linking the layers of nature and our inner selves. Material combinations and manipulation present a refined quality relating to something extra special, in the natural world and our inner selves.

Ruth Harries There are figurative and abstract elements to Ruth Harries’ work, which re-present emotionally charged atmospheres and recollections within the family. She strives to convey emotions triggered by memories.
Ruth Harries reflects on a house; a place of birth and death,and the subtle and intimate traces of life within it, a reflection on the transience of being and our right of passage.

His work is an investigation of the human figure and his forms are stretched to the point where sculpture and drawing overlap.

After spending 17 years in London Christy Keeney returned to his native Donegal where he now lives and works. His Sculpted slab built heads and figures demonstrate a wonderful sence of draughtmanship as details are drawn into the wet clay surface.

“I see my work as 3D paintings. The form is built up and scetched till almost flat, like a canvas, ready to take the drawing which will outline the figure or head.

In the figures, I make an attempt to express the human spirit in all it’s many forms. I like to work blindly letting the moment dictate my progress. When I see the form develop to some conclusion, I`ll then add the features.

The heads are a study of the many varied features, and expressions that make up the human face”.

AWARDS:
2006   National Crafts Award, R.D.S Dublin
2004   National Crafts Award, RDS Dublin
1988   First Prize Open Ceramics Competition, Lisburn, N. Ireland
1985   Irish Arts Council Study Award, Royal College of Art, London

Reclining Lady

Inspiration is drawn from human, animal and bird form on an ever changing basis. They use texture, rhythm and colour into the clay to convey movement presence and humour into the work, these qualities being all important in any piece.

Adam Buick – Moon Jars

Adam Buick took part in the Autumn 2010 Showcase Exhibition within Form Contemporary Craft. Both his small moon jars and larger pieces were very well received and very popular. His work is now widely collected.

Adam is a ceramic artist based in Pembrokeshire on the west coast of Wales. From his pottery studio near St.Davids he creates his unique wood fired ceramics thrown at the potters wheel.

“The shapes I throw are based on Moon Jars, a Korean form from the Choson Dynasty originally made from plain white porcelain. I was struck by their serenity and simplicity. This pure jar form has become my canvas, into which I incorporate selected sources of local materials such as clays, rocks and seaweeds. I am inspired to do this through a fascination with landscape and how the resources within it can be utilised.”

Llantarnam Grange Arts Centre, Cwmbran

17.09.11 – 12.11.11

LGAC has travelled the UK identifying the finest 2011 graduates who are pushing the boundaries of applied art whilst maintaining the finest traditions of their craft. This year’s Portal exhibition introduces award winning ceramicists, textile makers & jewellery designers destined to lead and shape the next generation of applied artists.

This great exhibition features work from Hollie Anderson, Anna Backman, Roisin Daly, Carly Dugdale, Sheila Madder, Lynette Miller, Elle Plummer, Lucy Slade, Gwennan Thomas, Anna Watson, Sara Jane Williams, Masazumi Yamazaki, Suet Yi.

The exhibition runs until 12th November 2011.

We really recommend Masazumi Yamazaki’s playful ceramics. Hand built and inspired by illustration, Masazumi’s work explores subtle emotions through quirky yet bleak facial expression. With great attention paid to the surface area of the figures the work combines simplicity of shape with unpredictable theme.

“Although most of his paintings have personal recollection and experience as their foundation, they are ‘generalised’ in a way which makes their appeal extremely wide ranging.”

Goff’s links with South Wales and his ‘origins’ provide the inspiration for many of his paintings. His style is expressive with a high level of personal interpretation.

Goff works from the town of Brynmawr, located next to Blaenavon

Taken From Deck The Halls Exhibition

Becky Adams is a collector of stories; they become an integral part of her life and are ingrained into the making of her work through the sophisticated use of stitch, vintage fabric and antique ephemera.

There is a subtle and respectful glance to the study of the human condition; each piece is aware of its past, its present and its untold future.

Throuh the natural language of her work, each piece becomes an embodiment of a story preserved within each careful stitch.

Becky exhibits internationally.

Lindsey Mann’s unique jewellery is widely collected and has featured in many publications such as Elle Decoration, Vogue and Elle USA. Her work can be found in both Public and Private collections in the UK and the USA. “Amongst a host of influences, my current work references old board games and tin toys, domestic textiles and in particular a childhood spent with my father’s and grandfather’s constant tinkering with household gadgetry and gardening machinery.”

Lindsey’s work featured in one of our Showcase Exhibitions in the gallery.

A Selection of Porcelain Lamps

Amy Cooper grew up in idyllic Cornwall, spending much of her youth in the countryside and on the beach. After travelling and a series of menial jobs she attended Falmouth School of Art for their foundation course, with a view to furthering her painting skills. She quickly grew disillusioned with aspects of the fine art world and realised that painting wasn’t the direction she wanted to take. Ceramics reared it’s head as part of the course and Amy quickly became hooked on the infinite properties of clay and the myriad techniques that go with it.

After graduating from Falmouth, Amy went on to the University of Wolverhampton and studied for a B.A. in art and design (ceramics and sculpture) where she channelled her passion for clay into two main (and completely contrasting!) bodies of work – delicate porcelain lamps and large scale brick sculpture. Graduating with a first class honours degree in the summer of 2002, her career was kick-started by a hugely successful degree show and she has gone from strength to strength ever since showing regularly at craft design shows and major ceramics events, as well as supplying a host of galleries both at home and internationally.

These beautiful lamps are tactile and provide a centre piece for any home, whether they are lit or not.

Unfortunately, the gallery had to close in 2011 due to the economic downturn, however I have always been passionate that the original ethos of the gallery should continue and I have now launched this new online venture where I can still promote high quality contemporary craft to the public. I do not believe in being negative or critical about makers’ work and the aim will purely be to promote the work that I appreciate, either for the quality of the craftsmanship or the beauty in its design.

I welcome your comments at all times.

Claire Wood.