MOMENTS OF REFLECTION
Friday the 5th - Saturday 20th June 2020
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Photographed by Beth Evans unless stated otherwise. Flow is a renowned contemporary craft gallery situated in the heart of Notting Hill and was established by Yvonna Demczynska in 1999. the gallery features around six exhibitions a year as well as having a permanent collection, curated by Flow as well as guest curators, and includes ceramic, wooden and metal objects and jewellery.
MOMENTS OF REFLECTION 5th - 20th June 2020.
Located in the heart of Notting Hill, Flow Gallery’s latest exhibition presents a collaboration between island forager Alex Richards and artists: Max Bainbridge, Chloé Rosetta Bell, Cécile Daladier, Alison Dickens, Celia Dowson, Tom Fallick, Iva Polachova and Derek Wilson. By selecting objects which encourage moments of reflection, it’s curated to drive an appreciation for what surrounds us.
TABLE OF CONTENTS 7.
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N O T E F R O M T H E C U R AT O R
COLLECTING FLOWERS
Chloé Rosetta Bell
Cécile Daladier
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MAX BAINBRIDGE
CELIA DOWSON
Objects in Wood, Artist
Glass Artist
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C H L O E R O S E T TA B E L L
T O M FA L L I C K
Porthilly Oyster Shells, Ceramic Artist
Craftsman, Wood
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ALEX RICHARDS
I VA P O L A C H O VA
Wild Foraging on the Isle of Wight
Ceramic Objects
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ALISON DICKENS
DEREK WILSON
Basketmaker, Artist
Ceramic Artist
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C E C I L E DA L A D I E R
G A L L E RY P R I C E L I S T
Wild Flowers, Ceramic Artist
Index of Exhibition Items
Note from the Curator. Following the nationwide lockdown, like many, I spent considerably more time within my home. I began to notice small details; whether it be the dance of sun and shadows at different times of the day or the varied song of the birds mid-morning. The objects that you will find in this small exhibition are designed to bring you pleasure as our habits and homes adapt with the changing times. They are curated to be within our homes and bring joy to your routine. In the home is Max Bainbridge’s ‘Offering Jar’ where its rounded middle and lifted foot causes dappled light to be captured. In the evening fading light streams through the polished glass of Celia Dowson’s ‘Indigo Platter’. Through to the garden, coffee is poured into Derek Wilson’s cups and a few trailing wild flowers have been placed within Cecile Daladier’s pique-fleur en basin. Alex Richards and I are both from the Isle of Wight, we have a mutual love of food and wild landscapes. Alex hosts foraging walks on the Island. She takes small gatherings of people to explore different environments; to wander, chat and eat the food found there. The island is renowned for its rich food, be its tomatoes or garlic but Alex goes so much further, showcasing what the island has to offer in the wild. She introduces people to what’s growing on their doorsteps. I have asked Alex to share an insight into how we can be exploring closer to home and the practical use of wild plants. The objects from this exhibition are a proposal to make use of this insight. Later on you will find recipes from Alex and tips from ceramic artist Cecile Daladier on collecting and displaying flora within your home. This exhibition promises moments found in collecting straggling flowers on your borders, the tentative tasting of surprisingly honey-like dandelion root coffee, and glimpsing the sun passing through your home. It has been curated within the gallery and photographed by Beth Evans to share with you from a distance. However, the gallery will be open by appointment only from the 17th June. Chloé Rosetta Bell.
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Photo: Fores + Found
Max Bainbridge, Forest + Found.
Sculptor, Wooden Objects
Born in London in 1991, Max Bainbridge studied Fine Art at Chelsea College of Art, where he graduated in 2013 as a photographer and sculptor. Bainbridge’s sculptural vessels hewn from wood, reflect a need to create a tangible and grounded presence in space through the physicality of the object. Taking the natural shape and form of the wood as a starting point, he uses wood-turning, hand carving and elemental processes to create objects that are reflective of the making process; each piece displaying the physical effort that goes into their conception through the marks left on the surface. Working with wood sourced directly from the landscape, his work forms a deep connection to place through the ritualistic relationships he builds between objects and their site of origin. Sculptor Max Bainbridge has a collaborative practice with Artist Abigail Booth. They set up their studio practice, Forest + Found, in late 2014 and exhibit their work throughout the UK and Internationally. 9.
Offering Jar H 21cm x W 26cm Spalted Maple £2,380.00
Tenanted Vessel I H 11.5cm x W 16cm Olive Ash £600.00
Tenanted Vessel II H 11cm x W 17.5cm Olive Ash £600.00
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Offering Bowl I H 9.5cm x W 19cm Olive Ash £480.00
Offering Bowl II H 9.5cm x W 19cm Olive Ash £480.00
Beaded Plate I H 2cm x W 33cm Sycamore £505.00
Beaded Plate II H 2cm x W 33cm Sycamore £505.00
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Photo: Maria Bell
ChloĂŠ Rosetta Bell.
Ceramic Artist, Researcher
ChloĂŠ Rosetta Bell is an artist and researcher. Material-focused and primarily working in clay, her practice examines the livelihoods that are dependent on a specific landscape. This is driven by her relationship to the land surrounding her home on the Isle of Wight. ChloĂŠ studies the materials and narratives connected to the site to inform her collections. By sourcing and transforming these materials, her objects become a tangible celebration of the landscape, placing a subtle but essential emphasis on its sustainability. They act as a physical and sensory record that preserves the landscape and the livelihoods that depend upon it. ChloĂŠ recently graduate from the Royal Collage of Art where she developed a unique glaze collected from oyster shells from the Porthilly Oyster Farm. 15.
Porthilly Cup I H 6.5cm x W 10.5cm Stoneware and Porcelain with a glaze made from Porthilly Oyster Shells ÂŁ55.00
Porthilly Cup II H 6.5cm x W 10.5cm Stoneware and Porcelain with a glaze made from Porthilly Oyster Shells ÂŁ55.00
“ Each piece goes through multiple kiln firings with layers of glaze you will see a painterly feel in these works and the closer you look you will find textures of carving marks where I have gently traced over the surface with a thin jewellers saw. The result is a depth in its surface, a reference to the hazy landscape of Porthilly Oyster Farm.
Porthilly Vase H 15.5 x W 18.5 cm Stoneware and Porcelain with a glaze made from Porthilly Oyster Shells ÂŁ180.00
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Alex Richards At a time when going to the supermarket can be a worry and you seem to rarely find what you want, exploring nature’s larder is all the more inviting. Honestly, I can’t think of a better medicine than getting outside and exploring. This can be as nearby as your garden, it’s amazing what grows in the uncultivated wild spaces, your local parks or a nearby footpath or woodland. Start with plants you already know (only eat what you are 100% sure of) and experiment. Wild food is free, local, seasonal, packed full of nutritional benefits and best of all - tasty. So no food miles and maximum seasonal goodness. If foraging outside of your home, do so responsibly by just taking a little from each plant and only pick what you need. Remember to leave some for wildlife, for others to enjoy and for next year.
Island Forager www.islandwildfood.co.uk
NETTLE GNOCCHI Nettles contain every single vitamin and mineral needed for survival (except vitamin D) so go out foraging these beauties in the sunshine. They are also absolutely full of iron and protein (25% protein in fact). If you’re lacking energy or following a vegan diet these greens will be the super-food your body is craving. Make sure you use rubber gloves to pick (although it is only the jagged edge of the leaves that sting), and only harvest the top 4-6 leaves from each plant in Spring before the plant starts flowering. As always when foraging make sure you pick away from busy traffic areas and pick higher than dog level. Once you add heat to nettles they can no longer sting you. So once home, wash and plunge the nettles into boiling water for 5 minutes to blanch them before draining and squeezing out excess liquid. They can now be chopped safety and added to food to make it green and nutritious. Alternatively you could dry out nettles tops and powder them so that they are preserved and you can then add to soups, stews, smoothies and teas throughout the year. METHOD Peel and boil 2 large baking potatoes and then mash well. Stir in chopped blanched nettles (See method above). I tend to pick enough to fill a tote bag loosely. Add 2 egg yolks and season well with salt and pepper. Add in 120g of plain flour and mix together well. You can now check that mixture holds together but isn’t too heavy – drop a small floured ball into a pan of boiling water and see if it floats after a few minutes to test (if it doesn’t float, add more flour). Once you’re happy with the dough consistency, pull off little gnocchi sized lumps which you can roll into balls in your hands with a little excess flour. Drop the gnocchi into boiling water in batches (approx. ten at a time) and once floating cook for a further 10 minutes. Serve with a fresh tomatoes sauce, parmesan, and foraged garden weeds and herb
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DANDELION ROOT ‘COFFEE’ Everyone knows what a dandelion is so this is a good place to start. If you are weeding your garden and pulling up dandelions by the hundred don’t discard them into the compost too quickly as they have a lot of uses. The young leaves can be added to a salad; they have a slightly bitter lettuce tastes much like an endive, the yellow flower petals can be added to brighten up your salad or you can make ‘honey’ and the roots can make a delicious coffee substitute. I have been skeptical of this for years so didn’t try this, but its honestly amazing. As soon as the root begins to boil you can literally smell the coffee! METHOD Gather as many dandelion roots as you can find in your garden. I would recommend about 10. Scrub these well to remove the dirt and chop into even sized chunks – you may want to discard the weedier root ends. Place chunks evenly onto a baking tray and roast for about 30 mins on 180°C. Watch carefully to check they don’t burn as this can happen quickly (but even if they look burnt its still worth continuing). Add roasted chunks to a pan of hot water and boil for about 15 mins, give or take depending on the strength of ‘coffee’ you want. Strain, add honey to taste and enjoy in the garden giving thanks to the weeds!
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Photo: Sandra Reddin
Alison Dickens.
Basketmaker, Artist
Alison Dickens makes organic, sculptural forms in willow bought from Somerset and delicate plaited vessels in bark and other plant materials harvested from hedgerows, gardens and roundabouts. “My work is mainly contemporary but calls on a rich and varied craft tradition. I am drawn to sculptural forms, which for me echo the high curves and low curves of spare open landscapes: the Yorkshire Dales and Wolds, Norfolk and Suffolk coasts, estuaries and tidal mudflats; and the forms and patterns made by water, wind and wave. The rope-wale (or rope coil) technique I used to make them is slow and time-consuming and uses a lot of willow; but I love the sense of movement it creates and feel it best evokes the landscape forms and forces that guide me.” Alison trained for two years on the City Lit Basketry Course, completing in 2017 with an exhibition at Craft Central, Clerkenwell, with Basketmakers’ Dozen. The following year she was selected for the London Creative Network programme and won the Cockpit Arts/ The Worshipful Company of Basketmakers’ Award, 2019. 23.
Olive Jar Basket (Green) H 32.5 x W 37 x D 33cm Dicky Meadows and Dark Dicks Willow £430.00
Olive Jar Basket (Fired Earth) H 29 x W 32 x D 31cm Brittany Green Willow £390.00
Slumped Basket H 31 x W 42 x D 22cm Flanders Red and Steamed Willow ÂŁ510.00
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Photo: Lindsey Rendell
CĂŠcile Daladier.
Ceramic Artist
CÊcile Daladier’s oeuvre includes paintings, sculptures, installations, objects, environmental art, and gardens, which have been the subject of exhibitions, public commissions and international awards and recognition. Plants and water are at the heart of her artistic practice. For over ten years now, she has devoted a major part of her work to ceramics. In the continuity of her attention to ecology and an ancient French tradition, she has created a wide variety of vases, Pique-Fleurs, raku type ceramic pieces, which have a basic structure, intended to receive the stems of foliage and flowers, and water. This structure encourages us to create with the freedom of play and according to our inspiration, ephemeral art works. Each vase is a fusion of an art object, function, and elements of the natural world. 27.
Pique-Fleur En Bassin H 8.5cm x W 16 x L 20cm 1.4kg Stoneware £730.00
Pique-Fleur I H 12 cm x W 6cm Stoneware £365.00
Pique-Fleur II H 9 cm x W 5cm Stoneware £290.00
Tea Set L 23 cm x W 17cm
Tea Bowl Tray L 13 x W 18 x H 6cm
2.1kg Stoneware £970.00
1kg Stoneware £610.00
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A Small Ritual of the “pique-fleurs” by Cécile Daladier When flowers are gathered, whether it be from a walk along a country lane or street, or from your garden, or a florist’s - we’re faced with the question: What vessel should we put them in? Rather than jumping to form a ‘beautiful bouquet’ - flowers gathered in a bundle - think of pique-fleurs, a more spatial composition. Place the flowers one by one in a little theatre that each pique-fleurs form - the ancient notion of botanical theatre may come to mind -.
Photo: Cécile Daladier
The Gathering When walking or searching, pick flowers or foliage frugally, not too many, with the idea of taking them home and taking care of them. - I use small scissors, a large shallow basket (in French we speak of glaneuse à fleurs ...) - Whether sophisticated, cultivated flowers, or weeds, blossoms from trees or shrubs. I prefer collecting in the morning or in the evening and flowers in buds - don’t overlook the tiny flowers; long stems are not necessary. Arrange on the table or on a large tray the flowers that have been brought back, be attentive to their characteristics, classify them as you wish, by colour or shape, or for any other reason, as a painter arranges the colours on a palette. Choose a pique-fleurs that seems to suit the flowers you have spread out, and fill it with water, so that it is flush with the edge if possible, so that you can observe the surface of the water and the play of light. This will be their new habitat. The Curation Place the flowers one by one without haste in the pique-fleurs according to the different possibilities offered to each stem by the holes and the pipes of the pique-fleurs. Cut at what seems to be a good height - consider different heights -, remove the leaves which would be immersed, and use the leaves it elsewhere. Put the flowers in place little by little, giving each one some space, not piling them up or packing them up, being careful to keep the presence of the water, the reflections of light on its surface and the orientation of the flowers. Do not look for the spectacular, but for the delicate openwork. The pique-fleurs does half of the work, and gives each flower a new temporary home, which respects its individuality, gives it space, within a composition. A small garden takes shape little by little, a sensitive creation, like a theatre of the memory of the walk outside. With a great freedom of play, one can think of a choreography, a ballet that is almost motionless. Advice don’t try to use all the flowers at your disposal, don’t hesitate to put a few in the same flowerpot, no direct sunlight, cool nights, add fresh water every day, and if the water is altered or dirty, change the water. some flowers are demanding, e.g. wallflowers: change the water every day, if not at least once every three days in my opinion; it is often observed that the shorter the stem, the longer the flower is likely to last in the water of the vase.
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Texte de Cécile Daladier pour Flow Gallery 20 mai 2020 : petit rituel du pique-fleurs Quand on rapporte chez soi des fleurs que l’on a observées et glanées lors d’une promenade sur un chemin de campagne ou dans une rue, ou encore dans un jardin, ou bien des fleurs que l’on a achetées chez le fleuriste - pourquoi pas on est confrontés à la question : mais dans quel vase les mettre ? Si l’on dispose d’un pique-fleurs, plutôt que de penser à un «beau bouquet»de fleurs rassemblées en faisceau, on peut penser, de manière un peu différente, à une composition plus spatiale: on vient installer les fleurs une à une dans le petit théâtre que constitue chaque pique-fleur - la notion ancienne de théâtre botanique peut venir à l’esprit On pourrait décrire un petit rituel : La Cueillette Au gré de la promenade ou de la recherche, cueillir fleurs ou feuillages de manière frugale, pas en trop grand nombre, avec l’idée de les rapporter à la maison et d’en prendre soin. - j’utilise pour cela de petits ciseaux , un grand panier ou corbeille plat ( en français on parle de glaneuse à fleurs ou à fruits...)Que ce soit des fleurs sophistiquées, cultivées, ou des mauvaises herbes, des fleurs des arbres ou des arbustes, préférer plutôt le matin ou le soir, privilégier des fleurs en bouton, ne pas négliger les toutes petites fleurs; les longues tiges ne sont pas nécessaires. L’étalage Disposer sur la table ou sur un grand plateau les fleurs que l’on a rapportées, être attentif à leurs caractéristiques, les classer à sa guise, par couleurs, ou forme, ou pour toute autre raison, comme un peintre dispose les couleurs sur une palette. L’eau Choisir un pique-fleur qui parait convenir aux fleurs que l’on a étalées, et le remplir d’eau, à ras bord si possible, pour pouvoir bien observer la surface de l’eau, le jeu de la
lumière. Ce sera leur nouvel habitat. Le piquage Piquer une à une sans hâte les fleurs dans le pique-fleurs en fonction des différentes possibilités offertes à chaque tige par les trous et les tuyaux du pique-fleurs, en la coupant à ce qui parait une bonne hauteur - envisager des hauteurs différentes -, en ôtant les feuilles qui se trouveraient immergées, et en s’en servant ailleurs selon l’inspiration. Mettre en place peu à peu les fleurs en privilégiant le fait de donner à chacune de l’espace, à ne pas les amasser ni les tasser, en étant attentif à conserver la présence de l’eau, des reflets de lumière à sa surface, aux orientations des fleurs. Ne pas rechercher le spectaculaire, mais le délicat, l’ajouré. Le vase pique-fleur fait la moitié du travail, et permet de donner à chaque fleur une nouvelle demeure provisoire, qui respecte son individualité, lui laisse de l’espace, au sein d’une composition où elle se retrouve en société. Un petit jardin de table prend peu à peu forme, une création sensible, comme un théâtre du souvenir de la promenade dehors. Avec une grande liberté de jeu, on peut songer à une chorégraphie, un ballet presqu’immobile. Conseils : ne pas chercher à utiliser toutes les fleurs dont on dispose, ne pas hésiter à en mettre peu dans un même pique-fleurs, pas de soleil direct, fraicheur nocturne, de l’eau renouvelée: en rajouter chaque jour, et si l’eau est altérée ou sale, changer l’eau. certaines fleurs sont exigeantes, par ex les giroflées: changer l’eau tous les jours, sinon, à mon sens, au moins une fois tous les trois jours; on observe souvent que plus la tige est courte, plus la fleur est susceptible de durer dans l’eau du vase.
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Photo: Emma Ă˜verland Dudlyke
Celia Dowson.
Glass Artist, The Rhossili Collection
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The forms I make are symmetrical and there needs to be real clarity in the surface finish. Models are made with varying thicknesses. Glass pools into these shapes, creating subtle changes in colour. Light interacts with polished and satin surfaces, reflecting and refracting in beautiful ways.
Celia Dowson is a British artist and graduate of the Royal College of Art, where she specialised in both ceramics and cast glass. Celia received an MA from the Royal College of Art, 2018, and a BA (Hons) in Ceramic Design from the University of the Arts London, Central Saint Martins, 2014. The collections she makes are informed by the movement of nature, the changing colours and light in landscape and the everyday objects we use. They go beyond the classical concepts of function quietly offering moments for reflection and contemplation. Made using kiln casting techniques, Celia’s glass pieces are cast for several days allowing the glass to fold and melt into the mould capturing bubbles in its depth. While this process creates fluidity and movement in the pieces, the modelling and finishing processes are always very controlled with precise carving, sanding and polishing stages. The collection Celia has created for ‘Moments of Reflection’ is her Rhossili Collection.
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Indigo Blue Polished Small Bowl H 4 x W 7 cm 170g Cast Glass £360.00 Indigo Blue Polished Beaker H 6 x W 6 cm 200g Cast Glass £360.00 Indigo Blue Polished Platter H 2.5 x W 29.5 cm 3.5kg Cast Glass £2,400.00
Coral Orange Satin Beaker H 6 x W6 cm 200g Cast Glass £320.00
Copper Tint Satin Beaker H 6 x W6 cm 200g Cast Glass £320.00
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Misty Grey Satin Beaker H 6 x W6 cm 200g Cast Glass £320.00
Misty Grey Satin Large Bowl H 16 x W 8.5 cm 900g Cast Glass £820.00
Soft Fuschia Polished Small Plate H 2 x W 21 cm 1.5g Cast Glass £760.00 Soft Fuschia Satin Large Bowl H 8.5 x W 16 cm 900g Cast Glass £820.00 Soft Fuschia Polished Beaker H 6 x W 6 cm 200g Cast Glass £360.00 39.
Photo: Maria Bell
Tom Fallick.
Craftsman, Wood
Tom Fallick started exploring his creativity at a young age through drawing. His passion for anything artistic led him to study Fine Art at University. From there he went on to become a graphic designer, but still held a strong love for creating things with his hands. In early 2014, Tom stumbled across spoon carving, and it quickly became an obsession. The ability to create something that was both beautiful, and purposeful was a big attraction. It allowed him to put all of his creative skills together to design an object that could bring others joy in many ways. Tom’s home and studio, Thorne & Anchor, is based on the Isle of Wight. Full of natural beauty he describes the island as a great inspiration for the pieces he makes.
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Large Round Spoon H 31cm x W 10.5cm Walnut £140.00
Large Scoop H 19.5cm x W 10cm Indian Rosewood £160.00
Eating Spoons (I & II) H 18cm x W 4cm Walnut £30.00 each
Round Spoon H 9.5cm x W 19cm Indian Rosewood £100.00
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Photo: Freya Bramble-Crater
Iva Polachova.
Ceramic Artist
“The creative process and rhythm of making are crucial to my work. I draw inspiration from the ideas of Brancusi on the essential in art and Paul Klee’s thoughts on the artist distilling from nature. I seek clarity, simplicity, balance and tactility in my work. I use variety of clays and a limited pallet of mainly white glazes. The tool marks of making are often left visible as a gentle reminder of the handmade.
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Beakie Bowl I Stoneware £52.00
Beakie Bowl II Stoneware £52.00
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Photo: Kalie Reed
Derek Wilson.
Studio Potter and Conceptual Artist
My practice as a ceramicist centers on the making of a diverse range of contemporary objects – from the functional to the sculptural. I always start with the same process, the potter’s wheel being my predominant tool, but my work is never static or fixed and in some ways reflects the multifarious identities of contemporary ceramics – a twenty-first century hybridization of studio potter and conceptual artist. My ideas spring from a complex blending of the abstract to the familiar, evident in both the functional ware and sculpture that I make. My objects, in their colour, shape and materiality, reference the ideas of restraint, containment and minimalism. My search for a simplicity of form draws inspiration upon a diverse range of sources from mid-century British Constructivism to the history of the ceramic industry in Europe and Asia. I work in celadon glazed porcelain and stoneware and my objects, whether they are made to be used or not, tend to be placed in groupings – evoking communality and sociability. My aim is to push the boundaries of a traditional and diverse art form through playing with its aesthetics, materiality and processes. Fundamentally, my work is essentially made to be used in everyday life. 49.
Regular Cups (Four Available) Porcelain with Transparent Glaze £47.00 Each
Small Jugs (Two Available) Porcelain with Transparent Glaze £90.00
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PRICE L IS T
Max Bainbridge
Offering Jar H 21 x W 26cm Tenanted Vessel I H 11.5 x W 16cm Tenanted Vessel II H 11 x W 17.5cm Offering Bowl I H 9.5 x W 19cm Offering Bowl II H 9.5 x W 19cm Beaded Plate I H 2 x W 33cm Beaded Plate II H 2 x W 33cm
Spalted Maple Olive Ash Olive Ash Olive Ash Olive Ash Sycamore Sycamore
£ 2,340.00 £ 600.00 £ 600.00 £ 480.00 £ 480.00 £ 505.00 £ 505.00
Stoneware, Porcelain, Oyster Glaze Stoneware, Porcelain, Oyster Glaze Stoneware, Porcelain, Oyster Glaze
£ £ £
55.00 55.00 180.00
Stoneware Stoneware Stoneware Stoneware Stoneware
£ £ £ £ £
730.00 365.00 290.00 970.00 610.00
Dicky Meadows and Dark Dicks Willow £ Brittany Green Willow £ Flanders Red and Steamed Willow £
430.00 390.00 510.00
Chloé Rosetta Bell
Porthilly Cup I W10.5 x H: 6.5cm Porthilly Cup II W10.5 x H: 6.5cm Porthilly Vase W18.5 x H: 15.5cm
Cécile Daladier
Pique-Fleur En Bassin L 20 x W 16 x H 8.5cm (1.4kg) Pique-Fleurs I W 6 x H 12cm Pique-Fleurs II W 5 x H 9cm Tea Set W 17 x L 23cm (2.1kg) Tea Bowl Tray H 13 x L 18 x W 6cm (1kg)
Alison Dickens
Olive Jar Basket H 32.5 x W 37 x D 33cm Olive Jar Basket H 29 x W 32 x D 31cm Slumped Basket H 31 x W 42 x D 22cm
Celia Dowson
Misty Grey Bowl W 16 x H 8.5cm 900g Misty Grey Beaker W6 x H 6cm 200g Indigo Platter W 29.5 x H 2.5cm 3.5kg Indigo Beaker W6 x H 6cm 200g Indigo Bowl W 7 x H 4cm 170g Soft Fuchsia Plate W 21 x H 2cm 1.5kg Soft Fuchsia Bowl 16 x 8.5cm 900g Soft Fuchsia Beaker W6 x H 6cm 200g Copper Tint Beaker W6 x H 6cm 200g Coral Orange Beaker W6 x H 6cm 200g
Satin Cast Glass Satin Cast Glass Polished Cast Glass Polished Cast Glass Polished Cast Glass Polished Cast Glass Satin Cast Glass Polished Cast Glass Satin Cast Glass Satin Cast Glass
£ 820.00 £ 320.00 £ 2,400.00 £ 360.00 £ 360.00 £ 760.00 £ 820.00 £ 360.00 £ 320.00 £ 320.00
Tom Fallick
Eating Spoon I L 18cm x H 4cm Eating Spoon I L 18cm x H 4cm Large Round Spoon L 31cm x W 10.5cm Round Spoon W 9.7cm x L 19cm Large Scoop L 19.5cm x W 10cm
Walnut Walnut Walnut Indian Rosewood Indian Rosewood
£ £ £ £ £
30.00 30.00 140.00 100.00 160.00
Stoneware Stoneware
£ £
52.00 52.00
Porcelain with Transparent Glaze Porcelain with Transparent Glaze Porcelain with Transparent Glaze Porcelain with Transparent Glaze Porcelain with Transparent Glaze Porcelain with Transparent Glaze
£ £ £ £ £ £
47.00 47.00 47.00 47.00 90.00 90.00
Iva Polachova
Beakie Bowl I Tear L 13.5cm, W 9cm x H 5cm Beakie Bowl II Round L 13.5cm, W 12.5cm x H 6cm
Derek Wilson
Regular Cups H 7.5cm, W 8.5cm Regular Cups H 7.5cm, W 8.5cm Regular Cups H 7.5cm, W 8.5cm Regular Cups H 7.5cm, W 8.5cm Small Jugs H 11.5cm, W 7.5cm Small Jugs H 11.5cm, W 7.5cm
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Flow is a renowned contemporary craft gallery situated in the heart of Notting Hill and was established by Yvonna Demczynska in 1999. the gallery features around six exhibitions a year as well as having a permanent collection, curated by Flow as well as guest curators, and includes ceramic, wooden and metal objects and jewellery.