The Grantchester Pottery paints the stage

THE GRANTCHESTER POTTERY PAINTS THE STAGE Michael Fullerton Sophie von Hellermann Maria Loboda Anne Low Dietmar Lutz Edwin Pickstone Phil Root Giles Round Cally Spooner Sam Windett

THE GRANTCHESTER POTTERY PAINTS THE STAGE

A Jerwood Encounters exhibition curated by The Grantchester Pottery

Michael Fullerton Sophie von Hellermann Maria Loboda Anne Low Dietmar Lutz Edwin Pickstone Giles Round Phil Root Cally Spooner Sam Windett

SYNOPSIS

ACT 1 The director is disillusioned. She is, we discover, a pharmacological disaster, after becoming addicted to on-screen prosthetics, which produce and maintain her voice.

The director has outsourced to pre-aggregated choices, institutional funds and cliché. In each case, her agency diminishes because of an overreliance on a technical readymade ‘other’.

The director’s pen has gravitated to the screen. Her Gmail turned her statistical, and her desires become her business. She has become a gear, a component part in her own production, and now she is stuck. Not in, not in relation to, not alongside, but simply as The MegaMachine. The MegaMachine is, essentially, ergonomic design, and very, very bad poetry. Perhaps she wanted to tell you that, right now, she feels we became bad poets, and great backing dancers.

ACT 2 The director continues to scratch out ready-mades as un-sensual and ineffective as a cracked kettle. Heartfelt politics, wailing love letters, sweet nothings as spontaneous as an Amazon recommendation: readily available, eerily accurate when it comes to predicting and fulfilling her desires. Her hand is apparently sore. It’s from writing, with a pen. She handed her thinking over to thought externalised. She thinks in the mouth, but her mouth closed and she needed a manual to give to someone else, so they could work it for her. To be fair, she decided it should close. She wasn’t sure it was up to much; it was always an unreliable vessel. She could never remember what came out, what went in. She needed to demarcate the in and the out. So here she is now with the pen and the ache or, to be more dramatic: here, she is not.

She doesn’t look good, landing like data, but dammit; she wanted to chat.

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ACT 3 The director is thinking about distance and invisibility. If you don’t see it, then paying it attention is harder. If you don’t feel the weight of your tools, you’re more or less labourless. You would tell me: meaningfulness arrives when distance closes, that whatever I do or know can make sense only to the extent I can speak about it, and this requires eternal contact with the practical, stable, earthbound.

The director has transferred her production. Business means business and the business grows. She pays for this transferal. Each time she pays, She takes responsibility for one less gesture. This gives her more time to make business. Now there is apparatus, between her and the ground, and I am left with another semiotic failure, which really is the first and only failure.

Cally Spooner, 2014

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FOREWORD

The Grantchester Pottery paints the stage is the 20th exhibition in the series, Jerwood Encounters, designed to provide a responsive framework in which artists, makers, designers and curators can realise and experiment with new ideas, having sound practical and curatorial support behind them.

Through Jerwood Encounters we support ideas which allow for the development of conversations between artists, and with audiences, which might range and rove across and between perceived disciplines and practices. Precisely that Giles Round and Phil Root may be considered as artists, makers, designers and curators speaks volumes about the context of this exhibition and about the space that they are seeking to make for the presentation of their work and the work of others.

In The Grantchester Pottery paints the stage, works by The Grantchester Pottery’s associated artists are presented and attributed together for the first time, framed by an adaptable stage set designed by the collective in response to Cally Spooner’s enigmatic theatrical synopsis. All individual works face the same vantage point, the theoretical audience; upon entrance to the gallery, the visitor enters centre stage and is immersed in the set of a three act melodrama singularly aligned for an impossible vista. We are particularly delighted to present this exhibition in the context of Jerwood Space. Behind the public scenes of the gallery, the building itself is a leading rehearsal facility for dance and theatre productions; a place inextricably bound up in the practices of rehearsal, making and staging, and intimately involved in the collective work of theatre making.

We are grateful to Kathy Noble for her text for this catalogue, which sets the many ideas, politics and realities which span and motivate The Grantchester Pottery’s practice into intimate focus. We would also like to thank Giles and Phil for the plethora of roles they have played in making the exhibition happen, and each participating artist for their involvement, alongside the teams at Jerwood Visual Arts and Parker Harris who have supported them. Lastly we would like to thank everyone who contributed to the installation of the project on site, a truly collective endeavour.

Shonagh Manson, Director Jerwood Charitable Foundation

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ARTISTS

Michael Fullerton, Marillyn Hewson (Gothic Version), 2014 Oil on linen, 60 Ă— 45cm Courtesy the artist and Carl Freedman Gallery, London

Sophie von Hellermann, London’s Streets Are Paved With Gold, 2014 Acrylic on Canvas, 230 × 320cm Courtesy the artist and Vilma Gold, London

Maria Loboda, The beautiful banker, 2012 Pillows, seven disharmonious suit fabrics, variable dimensions Photography: Rosa Maria R端hling. Courtesy the artist and SCHLEICHER/LANGE, Berlin

Anne Low, Enrique, 2012 Wool, linen, 112 Ă— 112cm Courtesy the artist

Dietmar Lutz, LEFT: Interior World, 2014 Acrylic on canvas, 273 × 185cm RIGHT: Sophie in the pottery café, 2014 Acrylic on canvas, 200 × 160cm Courtesy the artist

Edwin Pickstone, Type Dump no.5, 2014 Digital print on silk, 140 Ă— 180cm Courtesy the artist

Phil Root, Go Hang a Salami, I’m a Lasagne Hog, 2014 Oil on canvas and wood, 26.5 × 31cm Photography: Damian Griffiths. Courtesy the artist

Giles Round, Untitled, 1943 – 1944, (SORRY!), 2014 Lithograph on book page, 28 × 21.5cm Courtesy the artist

Cally Spooner, Collapsing In Parts, 2011 – 2012 Novella, Published by Mousse, Milan and International Project Space, Birmingham Courtesy the artist

Sam Windett, Grey Sick, 2014 Oil on linen, 50 Ă— 35cm Courtesy the artist and The Approach, London

THE GRANTCHESTER POTTERY PAINTS THE STAGE...

The day of the Grantchester Pageant had arrived. A warm orange glow descended over the village church and shiny flecks on grey tombstones flickered in the last of the sunlight. Inside the church hall, members of The Grantchester Pottery were bustling around, making final touches to the scenography in which The Grantchester Theatrical Group would enact their latest performance that night. Giles stood with a paintbrush in one hand – handsome, hirsute and surly, dressed in crack-addict chic of acid green and zebra print – staring at a black painted screen rimmed with crimson. Beside him stood Phil: a sprightly urchin-like being, wearing a red beanie and hooded sweatshirt.

Their old friend, Diane, loitered in the doorway, wearing leopard print leggings and a gold lamé moo moo, smoking a cigarette and pouffing her frizzy mass of golden hair. Flicking it over her shoulder, she dropped her cigarette onto the gravel below and crushed it using the toe of her wedge shoe, as she turned sharply on her heels and marched unrepentantly into the hall: “Giles! Phil! Darlings!” she shouted in a deep, husky voice...

“It’s so gorgeous darlings!”

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The Grantchester Pottery, Wallpaper, 2014 Screen printed lining paper, variable dimensions Photography: Paul Allitt. Courtesy the artist

THE GRANTCHESTER FREE STATE

Numerous rumours have circulated about the formation of The Grantchester Pottery (TGP). Much like any ‘group’ or ‘collective’ who work together artistically, or otherwise, the people involved change, mutate and morph through the different stories, histories and projects, which can – purposefully – tend more towards myth or fiction than any reality. As such there is not one story, or even essential facts that should be told in order to understand TGP. Instead TGP should be considered a meta-structure. And by meta-structure I mean overarching system that can encompass anything within its conceptual walls. TGP is often described as a contemporary design or craft company, akin to Roger Fry’s Omega Workshop, through which he commissioned some of those involved in the freewheeling Bloomsbury Group of artists, writers and philosophers to create graphics, ceramics and other design outputs that had a purpose or use. This was in part to level the hierarchies between fine and decorative arts, and also eliminate the parallel hierarchies of individual artistic authorship – as works were shown anonymously only under the imprint of the group.

As TGP operates and produces work in a similar way to this, it is often described as having its roots in late, or alternative, British Modernist histories – and their aesthetic approach echoes elements of the Omega output. It is also true that TGP was inspired by the history of the village of Grantchester in Cambridgeshire (although now more notorious for its staunchly conservative inhabitants such as the estranged Baroness Archer). Grantchester is a place that was once inhabited by writers, artists and philosophers of merit including many also associated with the Bloomsbury Group. They loosely took the form of the Grantchester Group and included poet Rupert Brooke, philosophers John Russell and Ludwig Wittgenstein, writers E. M. Forster and Virginia Woolf, economist John Maynard Keynes and artist Augustus John. Yet, however much TGP might be the errant, mythical grandchild of these histories, it could only have been given birth to in a meta Post-Modernist world: as quite literally, only in heaven or hell, could there be a party at which Vanessa Bell, Roger Fry, Diane von Fürstenburg, David Hockney, Nigel Henderson, Henri Matisse, Vaslav Nijinsky, Pablo Picasso, Vita Sackville-West, Andy Warhol and Virginia Woolf would be hanging out. Well, actually – heaven, hell and TGP’s ceramics studio-cum-artwork.

As a metastructure, TGP is a situation akin to a ‘free state’ in which the artists involved can function and contribute as they wish, within the conceptual structure, in whatever medium or format is fitting to the moment. As such, TGP can also be considered as a conceptual art work, in the form of a much larger performance, in its own right. Its existence and output – both real and fictional – is part of a larger investigation into how one might work as an artist today. Yet it exists outside the typical curatorial, institutional and market structures by relinquishing the hegemonic status of individual authorship and artistic persona. By working in this way, TGP also considers what it is to live as a human who does not necessarily fit into the normative social and economic systems. Taking this into 20

account – although it is important to consider TGP in the context of the overt art historical references discussed above – it is also interesting to consider its wider functions in parallel to the Slovenian collective Neue Slowenische Kunst (the German translation of New Slovenian Art). NSK were a large group of artists, musicians and philosophers, who worked together under this banner, yet were formed from several subsections: the painting collective IRWIN, the artist-musicians Laibach, the theatre group Scipion Nasice Sisters and the design wing New Collectivism. Similarly, TGP also has other departments working within the wider group, including the Astronomy Club, Design Unit, Free Press and Weavers Guild.

NSK’s work addressed the social and political situation in Slovenia as it was undergoing its separation from the former Yugoslavia, and as such, their political motivations and aesthetic concerns are radically different than that of TGP. However, NSK consciously addressed the complexity of the relationship between culture and national identity – in both ‘low’ and ‘high’ art forms – and how this occurs both privately and publicly. Alongside this, the conceptual basis from which NSK was founded – as a form of ‘gesamtkunstwerke’, using multifarious forms of appropriation from art and culture to make their work – is also an important precedent to TGP’s own use of appropriation from all forms of culture, and its existence as an ‘art work’ in its own right. Philosopher Slavoj Žižek described NSK’s position, or attitude, as a form of provocative ‘overidentification’ with the repressed ‘obscene superego’ of the state: in his 1993 article “Why are the NSK and Laibach Not Fascists”, he argued that by inhabiting and performing the roles of their totalitarian oppressors, they were destabilizing and, therefore undermining, the effect of the original trauma. Again, I am not making a direct comparison in subject matter between the two groups. Rather, that this is an interesting precedent, as TGP also use strategies of ‘appropriation’ and ‘inhabitation’ to undermine existing power structures.

TGP may not be dealing with such overtly extreme, or painful, political histories: their work, however, is in no way apolitical. The avant-garde – in particular those involved in the Modernist canon in the early twentieth century – often refused to acknowledge art forms associated with decoration, craft, domesticity or any form of ‘use’, as having equivalent value to ‘high’ or ‘fine’ art. As such, to choose to work with these forms of making – as the Bloomsbury and Omega Workshops did – was in itself a radical act. In the introduction to the book Bloomsbury Rooms: Modernism, Subculture and Domesticity (1961) by Christopher Reed, entitled ‘Herosim and Housework: Competing Ideas of The Modern’, Reed succinctly puts forth the argument that for the Bloomsbury Group, creating a home and domestic structure within which they could live – in particular, one that enables alternative ways of living, being and thinking, sexually, aesthetically and socially – was both a political and activist statement. In many ways the group considered this a conceptual, as well as a practical act. Reed quotes various passages and notes taken from writings by Duncan Grant, 21

E. M. Forster, Lytton Strachey and Virginia Woolf, amongst others, to evidence the fact that they each spoke in different ways of the need to find a ‘home’, on the state of being ‘homeless’, and of feeling ‘homesick’ for a home that did not yet exist – but one that they knew they must endeavour to make. Their concept of ‘home’ was a way of creating a space for different ways of living, thinking and making. They were ambitious to form structures within which they could exist freely outside the normative social systems – systems that they felt were still imposed upon them, even though they railed against them in their work.

Woolf is well known for her writings on the insidious effects of the cultural norms of her time. For example, her seminal feminist polemic A Room Of One’s Own (1929), traverses the ingrained sexism of the patriarchy Woolf grew up with, in order to reach the conclusion that women – and in effect all human-beings – need a space in which to be, and think, freely. Woolf’s argument, in so many respects, is – sadly – an extremely pertinent comment on contemporary society. TGP founders Giles Round, Phil Root and I are all ostensibly homeless at the time of writing this essay: in that we are all staying with family members, due to various – career, relationship, financial and emotional – circumstances in our lives. We are all in our thirties and as such, this is not a living situation that is considered socially normative today, or, indeed, what we expected to be doing at this point in our lives.

This situation – for me at least – has led to a deep-seated feeling of homesickness. Not for a home I once had, but for a home that is imaginary and that does not yet exist – as it is one that cannot ever occur without me actively creating it for myself.

Thus, the Bloomsbury Group’s focus on creating a ‘space’ or ‘home’ – and the influence this has had on TGP’s desire to create a meta-structure that functions as a ‘free state’, one that addresses ideas of the domestic, in terms of aesthetic, craft, design and ‘use’ – is inherently, and deeply, political. So perhaps TGP, in all their wondrous, humorous, aesthetically pleasing, yet sometimes ridiculous creations, are perhaps stating this: how we live is political; having, and more importantly the ability to have, a home is political; how we inhabit, design and structure that home, physically and psychologically, is political. The reasons behind the decisions we make for our homes, bodies and lives are multifarious: social background, class, politics, identity, education, fashion and aesthetics all play a part.

However, these decisions are also influenced by emotional and intuitive qualities that are not necessarily overt or quantifiable. If we have any choice – and this, nearly always, comes down to our economic situation – the scenes we create for ourselves to inhabit, hopefully, will be born out of, and perhaps filled with, love.

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The Grantchester Pottery, 2014 Photography: The Grantchester Photographic Society

THE GRANTCHESTER PAGEANT

The cast hid nervously behind the black folding screen, the planes of which were picked out by thin lines of raspberry red. Diane stood behind them, arms crossed, pouting in frosted pink, listening to the audience settle down. “One minute” she husked.

Michael turned and winked at her. She flipped her candy-floss-esque hair over one shoulder and winked back, before peering around the side of the folding screen to view the packed hall. She then turned to the group, grinned and snapped her fingers.They immediately formed a line and marched onto the stage. As Michael was about to enter, Diane grabbed his hand and pulled him roughly back towards her.

On stage the action began. Set in the re-creation of the drawing room of a Victorian terraced house in Bloomsbury, London, the artists – members of The Grantchester Theatrical Group – took their places. Sophie reclined on a turquoise, orange and pink camo-patterned chaise-long, wearing a flesh coloured body stocking, languishing, limbs awkwardly bent, as if a Matisse model. Maria lay on the floor, head resting on Sophie’s feet and Anne placed her head in Sophie’s lap. Dietmar was on his knees, his strong thighs stretching through nude lycra. Edwin and Sam stood awkwardly behind the mélange of bodies, hands on their hips in an overtly masculine stance.

Cally – stage right wearing a leopard print caftan – shouted “Giles”,“Begin!”. Phil walked on stage in an identical caftan, as Throbbing Gristle began…

Kathy Noble

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The Grantchester Pottery, Screen #1: Interior, 2nd Arrondissement Paris, 2009, 2013 Oil paint on linen, stretcher bars & screen hinges, 183 Ă— 183 Ă— 2cm Photography: Max Slaven. Courtesy the artist

BIOGRAPHIES

THE GRANTCHESTER POTTERY is an artistic collaboration between sculptor Giles Round & painter Phil Root established in 2011. Recent exhibitions and presentations include: The Influence of Furniture on Love, Wysing Grange Farmhouse, Cambridgeshire, 2014; Backdrop Commission, Jerwood Space, London, 2014; Pleasure, Devotion, Balance, curated by Mexico, Eastside Projects, Birmingham, 2014; Zero Hours, Art Sheffield Biennial, Sheffield, 2013; ARTIST DECORATORS, ICA, London, 2013; Mud and Water, Rokeby, London, 2013; Studio Wares, David Dale, Glasgow, 2013; Publish & Be Damned, ICA, London, 2013 & 2012; House of Voltaire, Studio Voltaire at Jonathan Viner Gallery, London, 2012; Décor, ROWING, London, 2012; Grantchester Ices, Wysing Arts Centre, Cambridge, 2012; Slipped, Wysing Arts Centre, Cambridge, 2011.

MICHAEL FULLERTON (b.1971, Bellshill, Scotland) graduated from the Glasgow School of Art MA Programme (2002) and lives and works in Glasgow. Solo exhibitions include: Meaning, Inc, Glasgow Print Studio, Glasgow, 2014; Meaning, Inc, Greene Naftali, New York, 2014; Columbia (curated by Polly Staple), Chisenhale Gallery, London, 2010; Black and White Are Colours, Art Nova, Art Basel Miami Beach, 2008. Recent group exhibitions include: Learning to Draw/ Learning to Draw:The Glasgow School of Art, Fleming Collection, London, 2013; A Picture Show, GoMA, Glasgow, 2013; Dawn Chorus: New Works in the Arts Council Collection, Leeds Art Gallery, Leeds, 2012; The Irregular Correct, Fremantle Arts Centre, 2012; Artist residency, Cove Park, Cove, 2012.

SOPHIE VON HELLERMANN (b.1975, Munich, Germany) studied at Royal College of Art (2001) and lives and works in London. Solo exhibitions include: Novel Ways, Greene Naftali, New York, 2013; Elephant in the Room, firstsite, Colchester, 2013; Crying For The Sunset, Vilma Gold, London, 2011; The Lucky Hand, Greene Naftali, New York, 2011; Sophie von Hellermann & Josh Smith, Museum Dhondt- Dhaenens, Deurle, 2010; Judgment Day, Neuer Aachener Kunstverein, Aachen and Chisenhale Gallery, London, 2006. Selected group exhibitions include: I Cheer a Dead Man’s Sweetheart, De La Warr Pavilion, Bexhill on Sea, 2014; Festival Printemps de Septembre, curated

by Anne Pontegnie, Toulouse, 2011; Watercolour, Tate Britain, London, 2011; 100 Years, 100 Artists, 100 Works of Art, Art on the Underground, London, 2008; Britannia Works, British Council, Athens, 2004.

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MARIA LOBODA (b.1979, Krakow, Poland) studied at the Städelschule in Frankfurt am Main.

She currently lives and works in Berlin, Germany. She was included in dOCUMENTA 13, Kassel, 2012. Solo exhibitions include: Dead Guardian, Braunschweiger Kunstverein, Braunschweig, 2014; The Beasts, Museo Reina Sofia, Madrid, 2013; General Electric, Andrew Kreps Gallery, New York, 2013. Selected group exhibitions include Great Acceleration, curated by Nicolas Bourriaud, 13th Taipei Biennale, Taipei, 2014; Ir para volver, curated by Jacopo Crivelli Visconti & Manuela Moscoso, 16th Biennale de Cuenca, 2014; I Know You, Irish Museum of Modern Art, Dublin, 2013, There’s No Place Like Home, Westfälischer Kunstverein, Münster, 2013; Archaeology of Memory, curated by Birgitte Kirkhoff, Soro Kunstmuseum, Copenhagen, 2013; Champs Elysées, curated by Julie Boukobza, Simon Castets, and Nicola Trezzi, Palais de Tokyo, Paris, 2013.

ANNE LOW (b. 1981, Stratford, Canada) lives and works in Vancouver, Canada. Solo exhibitions include: Some Rugs and Blankets, The Taut and the Tame, Berlin, 2012; Weavings, Belvedere Project Space, Vancouver, 2012; Women’s Assembly:Two Scenes from a Radio Play, Hex Projects, London, 2008. Her work is included in a forthcoming group exhibition at The Western Front, Vancouver, 2015. She has collaborated with The Grantchester Pottery as part of ARTIST DECORATORS, ICA, London, 2013 and Studio Wares, David Dale Gallery, Glasgow, 2013.

Her weavings made in collaboration with Gareth Moore were shown as part of his work, A place, near the buried canal for dOCUMENTA 13, Kassel, 2012. She has apprenticed at the Marshfield School of Weaving in Vermont (2013-2014).

DIETMAR LUTZ (b.1968, Ellwangen, Germany) graduated from Art Academy Düsseldorf, Germany (1997) is co-founder of artist collective hobbypopMUSEUM (1998) and lives and works in Düsseldorf. Solo exhibitions include: Mental Diaries, Kunstverein Hannover, 2015; Dietmar Lutz & Alessandro Raho, Center, Berlin, 2011; Documenta (with Kota Ezawa), Arquebuse, Geneva, 2008; An elegant universe (with Giles Round), Generator Projects, Dundee, 2004; Urban Studios (with André Niebur), Adeline Morlon Art Direction, Düsseldorf, 2004; Emily Tsingou Gallery, London, 2005, 2003, 2002; Karyn Lovegrove Gallery, Los Angeles, 2006, 2004.

Group exhibitions include: il Corpo Figurato, Collezione Maramotti, Reggio Emilia, 2014-2015; Painting Show, Eastside Projects, Birmingham, 2011; German Art Now, Seattle Art Museum, 2011.

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KATHY NOBLE (b.1979, London, UK) is an independent writer and curator based in London.

Most recently, she worked as Curator, Artists and Programmes at Wysing Arts Centre. Prior to this she was Head of Exhibitions at Nottingham Contemporary and from 2007 - 2012 she worked at Tate Modern as a Curator, where she organised numerous projects, exhibitions and events, including co-curating The Tanks opening programme and the performance programme Tate Modern Live. She writes widely for magazines such as Artforum, Frieze and Art Review and has published numerous essays in catalogues and books. Kathy is a Trustee of Michael Clark Company and recently won The Grantchester Literary Award for her gothic horror, These People are Real, 2014.

EDWIN PICKSTONE (b.1982, Manchester, UK) lives and work in Glasgow. He is currently a Tutor and Typography Technician at The Glasgow School of Art, where since 2005 he has cared for the school’s collection of letterpress printing equipment. Focusing on the material nature of print, Pickstone uses letterpress equipment in his own work as well as collaborating with artists and designers on a wide range of projects. His work spans academic, artistic and design worlds, with particular interest in the history of typography, graphic design, print and the nature of the book. He has spoken and exhibited internationally.

PHIL ROOT (b.1984, Kettering, UK) graduated from Goldsmiths College (2006) and lives and works in Bristol. Recent solo exhibitions include: Phantom Limb, Spacex, Exeter, 2014; ARTIST DECORATORS, The Grantchester Pottery, ICA, London, 2013; Studio Wares, The Grantchester Pottery, David Dale Gallery, Glasgow, 2013; DĂŠcor, The Grantchester Pottery, ROWING, London, 2012; All This Took Place in Much Less Time Than It Takes To Tell, Hidde van Seggelen, London, 2012; Mountain, Belmacz, London, 2012; A Still Life with Lemons, Hidde van Seggelen, London, 2010. Group exhibitions include: The Influence of Furniture on Love, Wysing Grange Farmhouse, Cambridgeshire, 2014; Circus TM, Belmacz, London, 2014; By_You_By_Me_By_We, Twelve Around One, London, 2012; Slipped, Wysing Arts Centre, Cambridge, 2012.

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GILES ROUND (b.1976, London, UK) graduated from Royal College of Art and lives and works in London. Solo exhibitions include: Untitled, 1943/1944, (SORRY!), Space: Mercer Union, Toronto, 2014; ARTIST DECORATORS, The Grantchester Pottery, ICA, London,2013; Studio Wares, The Grantchester Pottery, David Dale Gallery, Glasgow, 2013; Décor, The Grantchester Pottery, ROWING, London, 2012; The Studio of Giles Round, Serpentine Gallery, London, 2010; The Form of the Book, SWG3, Glasgow, 2010; Living Structures, S1 Artspace, Sheffield, 2009. Group exhibitions include: Love Among the Artists, Walden Affairs, Den Haag, 2014; The Nuisance of Landscape: Grizedale - The Sequel, Abbot Hall Art Gallery, Cumbria, 2014; The Influence of Furniture on Love, Wysing Grange Farmhouse, Cambridgeshire, 2014; Commons Room, Grizedale Arts at Anyang Public Art Project Biennial, Anyang, 2014.

CALLY SPOONER (b.1983, Ascot, UK) is a writer and an artist living and working in London.

Recent solo presentations, performances and exhibitions include Regardless, it’s still her voice, gb agency, Paris, 2014; He’s In A Great Place!, BMW Live Performance Room, Tate Modern, London, 2014; And You Were Wonderful, On Stage, Stedelijk Museum, Amsterdam, 2013; Performa 13, The National Academy, New York, 2013; Seven Thirty Till Eight, Kunsthal Charlottenborg, Copenhagen, 2013. Selected group exhibitions include La Voix Humaine, Kunstverein Munich, 2014; Relaunch, KW Institute, Berlin, 2013; Memory Marathon, Serpentine Gallery, London, 2012. 2014 projects included a commission for High Line Art, New York, presentations at Frieze Film, London and a production residency at Experimental Media and Performing Arts Centre (EMPAC) at Rensselaer Polytechnic Institute in Troy, NY. Cally Spooner is a recipient of the Paul Hamlyn Foundation Award for Artists 2013.

SAM WINDETT (b.1977, Kent, UK) studied at Royal College of Art, graduated from the MA Painting in 2004 and lives and works in London. Solo exhibitions include: This Panel is That Painting, The Approach, London, 2014; The Approach, London, 2011; Zephyr, Sies + Höke Galerie, Düsseldorf, 2010; Billion Watt Bulb, Marc Foxx, Los Angeles, 2010; Solo Presentation, The Armory Show, New York, 2009; Bon Tracker, The Approach E2, London, 2008. Group exhibitions include: Inside Arrangement, Mary Mary, Glasgow, 2014; Intersection - Contemporary Abstraction And Figuration, Online Exhibition curated by Steve Gibson, The Torrance Art Museum, Torrance, 2013; Pale Ontology, Marc Foxx Gallery, Los Angeles, 2012.

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COLOPHON

THE GRANTCHESTER POTTERY PAINTS THE STAGE 16 January – 22 February 2015 Jerwood Space, 171 Union Street, London SE1 0LN

MICHAEL FULLERTON / SOPHIE VON HELLERMANN / MARIA LOBODA / ANNE LOW / DIETMAR LUTZ / EDWIN PICKSTONE / PHIL ROOT / GILES ROUND / CALLY SPOONER / SAM WINDETT Curators The Grantchester Pottery Writer Kathy Noble Jerwood Visual Arts Hannah Pierce, Sarah Williams, Oliver Fuke, Lauren Houlton, Nick Tudor Technician James Murison Parker Harris Project management and PR Galleries The Approach, Carl Freedman Gallery,

MOT International, Schleicher/Lange, Vilma Gold The Grantchester Design Unit Catalogue design Print Jigsaw

All images © the contributors © Jerwood Charitable Foundation 171 Union Street London SE1 0LN

ISBN 978-1-908337-10-6

Published in the UK to accompany The Grantchester Pottery paints the stage, a Jerwood Encounters exhibition. All or part of this publication may not be reproduced, stored in retrieval systems or transmitted in any form or by any means, whether electronic or mechanical, including photocopying, recording or otherwise, without the prior permission in writing of the publisher.

With thanks to Little Greene for kindly providing the paint for The Grantchester Pottery murals. The Grantchester Pottery would like to thank Wysing Arts Centre for their continued support.

ISBN 978-1-908337-10-6

THE GRANTCHESTER FREE PRESS