Rising Stars 2018
Rising Stars 2018
Organised by The New Ashgate Gallery in partnership with the University for the Creative Arts The competition is supported by the Billmeir Charitable Trust New Ashgate Gallery Waggon Yard Farnham Surrey GU9 7PS 01252 713208 newashgate.org.uk Registered charity no. 274326 Editor: Victoria Shearing Cover Image: The side view of Buotuo The side view of Buotuo,, Xuan Fang, wood, acrylic Photography: Xuan Fang
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Introducing our Art and Craft Talent
With more than 200 makers showcasing their work at the Rising Stars exhibition over 8 years, the New Ashgate Gallery continues to be a great platform to view and collect exciting new works by talented makers from crafts and applied arts programmes across the UK. We are confident that the Rising Stars £500 Professional Development Award, to be announced at the private view on the 2nd March and a solo exhibition at the New Ashgate Gallery will have a significant impact on the winner’s career. Former participants have progressed to other elite programmes such as Hothouse supported by the Crafts Council. A free professional development programme and symposium at the UCA is offered to support all emerging artists and makers nationally. Craft students and courses are declining rapidly alongside arts funding and the knock-on effect is that talented students and graduates are being side-lined in favour of established and less risky artists and makers. The New Ashgate Gallery promotes the importance of a showcase that pushes the boundaries through ambitious work at Rising Stars. Rising Stars is produced by the New Ashgate Gallery in partnership with the University for the Creative Arts. It is supported by the Billmeir Trust. We would like to thank UCA and the Billmeir Charitable Trust for their continuing support for the programme. We hope that you will enjoy the exhibition. Victoria Shearing, Gallery Director, New Ashgate Gallery Trust Victoria Shearing,
Artists and Makers Ruth Brown Emily Jane Bruce Ellie Burton Anne-Laure Cano Xuan Fang Ella Fearon-Low Tony Howard Polly Middleton-Heatle Valerie Muddyman Teresa Munn Alex O'Connor Anna Peake Rebecca Rowland-Chandler Joshua Schoeman Claire Lucia Skelton Mariam Syed Mona Tabbicca Emma Trussler Louisa Warren Kas Williams
The artists and makers were selected by Rebecca Skeels, Post Graduate Subject & Senior Tutor for University of Creative Arts Farnham; Gemma Curtis, Craft Programme Co-ordinator, Farnham Maltings and Victoria Shearing, Gallery Director, New Ashgate Gallery from more than 50 applications.
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Ellie Burton
2017 BA (Hons), Design Crafts, 2017 BA (Hons), Design Crafts, De Montfort University Ever since Ellie’s first induction into the hot glass workshop she has loved the qualities of hot glass as a material, the fluidity of hot glass and the control required to work with it. Ellie particularly enjoys allowing the material itself to dictate the form of the pieces and finds the effect colour can have on the form of a piece extremely interesting. Her work is currently about experimenting with colour and the effects of the reactions that can be created by layering different colours within the glass. Ellie is inspired by the concept of urban decay and “the way man-made structures become forgotten about and left to Mother Nature to reclaim”.
Reclaimed 1, free blown glass Reclaimed 1, Photography: Ellie Burton 2
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Ruth Brown
2016 BA (Hons) Silversmithing & Jewellery Design Glasgow School of Art “One’s environment is no small component of their identity; therefore its reflection within their jewellery is compelling” Through her practice, Ruth aims to create visual manifestations of the multifaceted intricacies of personal identity in the city. The contrast created by natural repetitions in the urban environment and the changes which accompany the movement of light against simple linear planes provides her with a basis for visual exploration. “The moment where tangibility ends and the ephemeral starts”. Through investigations into distorted and fragmented reflection, shadow and space, she explores illusion and perception. Mirrors are central to the concept of reflection and identity as they provide a way to see something that we would not otherwise be able to. Ruth's work highlights the distortion of character and place. Faces in highly polished sheet metal, or fragmented depictions of the environment, the ‘glass’ of these mirror forms exposes the confusion and complexity of personal identity and environment. Geometric forms, hand fabricated in precious metals, provide a simple, minimal frame in which this can be portrayed.
Distorted Gold pendant, oxidised silver, resin, gold leaf, aluminium, printed acetate Distorted Gold pendant, Photography: Ruth Brown 4
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Emily Jane Bruce
2017, 2018 BA (Hons) & MDes, Illustration, University of Wales Trinity Saint David Emily Jane Bruce is a Swansea based illustrator-maker. Emily endlessly strives to look past stagnant norms, and see the beauty that can be found within the uncanny. Her core illustrative skills lend themselves to her practice of soft sculpture design and creation. Emily undoubtedly relishes the chance to bring her drawings to life with the use of aged fabric, faux fur, and her signature sculpture techniques. As a keen collector of curiosities and antique haberdashery, Emily uses her precious tools to construct her peculiar creatures with loving, delicate-detail.
Albino, textile, mixed media Albino Photography: Alesha Williams 6
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Anne-Laure Cano
2015-2017, Diploma, Ceramics, City Lit London “Words are not enough to talk about the atrocities committed against the population but these objects, recomposed by the violence of the impact, speak volumes about what just happened”. Anne-Laure's work examines how we respond to emotional experiences such as memories, loss and sense of belonging. These themes resonate with her as migration and separation, by choice or necessity, have been a recurring trait in her family. This legacy makes her particularly interested in the unspoken stories, our internal negotiations with emotions or personal stories that make us who we are. In response to being interested in the invisible and untold, she is fascinated by objects or any tangible marks that bear the traces of existence and define our human identities. In her recent work, Anne-Laure has been looking at the themes of conflicts, displacement and the loss of continuity with one's individual and collective past. She creates abstract sculptures that draw the viewer in through a combination of familiar details with unexpected elements. Her pieces challenge, push clay to its limits and carry intriguing narratives which prompt us to probe our emotional experiences. ‘Whispers’ is a series inspired by found objects in rubble after a bombardment. Elements that are not supposed to be next to each other are now fused together and unrecognisable changed for ever.
Whispers 1, Whispers 1, ceramics Photography: Anne-Laure Cano 8
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Xuan Fang
2015- Present BA (Hons) Glass, Ceramics, Jewellery, Metalwork, University for the Creative Arts, Farnham As a jewellery student, Xuan Fang always considers how to balance the harmony between traditional and contemporary, the functional and decorative. Her aim has been to design a set of contemporary jewellery with traditional elements, which she considers to be functional and decorative. She has made a set of detachable jewellery, The top view of Qitu (Necklace) which she describes as “a monster called Qitu”. The whole piece can be a necklace or just a decorative sculpture, and it can be reassembled to rings and bracelets from the collection. “The monsters are inspired by Shan Hai Jing, also known as Classic of Mountains and Seas from Ancient China, a collection of mythology, which described the mysterious creatures that dates back over 2,000 years. The old version of Shan Hai Jing I read has not got any illustrations. Imagining the monsters’ appearance was one of my favourite things when I was a little. They have their own specific appearance in my mind that may differ from others’ imagination”.
The side view of Buotuo, The side view of Buotuo, wood, acrylic Photography: Xuan Fang 10
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Ella Fearon-Low
2016, Certificate 1 & 2, Vocational Jewellery Training, Morley College London Artist, jeweller, Ella creates contemporary jewellery with a strong aesthetic that is sophisticated and playful. Her signature shapes reference fine art, historical motifs and natural forms. A passion for working with a diverse palette of materials is at the heart of Ella’s practice. Spanning brass to Lucite, sea worn plastic to gold, each material is valued for its individual quality. Her creative process is iterative with designs emerging through repeated sketching and handling of materials. Through organising and playing with the relationships and stories between shapes and materials, forms emerge and become refined. Ella now develops small collections and one-off pieces in her London studio. In 2014 Ella was the winner of the V&A ‘Inspired by …’ prize for jewellery, and has previously exhibited in London and Edinburgh.
Low 5 Cloud Brooch with Golden Drop, Cumulus Revolution, 22 carat gold plated Low 5 Cloud Brooch with Golden Drop, Cumulus Revolution, brass and silver, steel, Lucite, and vintage pearls Photography: Jocelyn Fearon-Low 12
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Tony Howard
2017, MA, Design Ceramics, Central St Martins UCA Ornamental Biomorphics is a range of articulated structural ceramic pieces by Tony Howard, inspired by biomimicry in architecture, that function as free standing sculptural dishes or wall mounted artefacts for interiors. “Each individual composition reflects complexity and elegant solutions to structural problems found in nature. Flowing organic forms and curving shapes are harmoniously brought together in a tracery of symmetrical and asymmetrical patterns." The enclosed volumes created by this structural lightness allow for a play of light and shadow that accentuate and enhance the fundamental three-dimensionality of the artefacts. Detailed handmade elements contrast desiccated textures of raw ceramic with viscerally glazed interior spaces. Assembled with pure white resin and accented with coloured silicon, the resulting structures reflect both the cartilaginous articulation of biological skeletal forms and the modular construction of contemporary architecture to dramatic visual effect�.
Orange Lateral Articulation stoneware, resin & silicone Orange Lateral Articulation Photography: Tony Howard 14
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Polly Middleton-Heatley
2018, MA Ceramics, University for the Creative Arts, Farnham Polly is a Surrey based ceramicist, whose inspiration and creative motivation comes from her love and affection of form, function, colour and texture. She creates work that is both functional and ethically pleasing, bringing these two narratives together to create a cohesive collection, both for meaning and pleasure. She is interested in collections and families of objects – all slightly different but with a sense of belonging, and is passionate about grouping pieces together – each one unique, making a celebration of their differences. The work develops and emerges through the use of the marks made by her hand building and painting techniques. Thus, the pieces, shapes and patina that develop from the characteristics of her hands, fingers and thumbs are unique. There is always a theme running through her work, joining the pieces together and giving them a sense of inclusion. She takes great pleasure making her art collections, reflected in the colourful, fun objects she creates. However, this contrasts with the depth that comes from isolation and loneliness which undermines a sense of belonging and being included, a problem in our society in the 21st Century.
Rainbowls, Rainbowls, ceramic Photography: Colin Mills 16
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Val Muddyman
2017 BA (Hons) Jewellery and Silversmithing, Plymouth College of Art Val works from her studio in Royal William Yard in Devon and uses mixed media including jesmonite, wood, precious and non-precious metals. Fibres, rust and steel recreate and celebrate the textures and marks found in the area. “This body of work pays homage to the marks that are laid down by the elements and tides on man-made surfaces and structures, with inspiration being taken from the coastal area around Tinside Lido, Plymouth. The Victorian changing rooms are no longer in use, but continue to stand, bearing witness to the changing weather patterns. The mark-making processes are slow but relentless: the action of the waves, the height of the tides, the weather and the fierceness of the storms that batter the coastline, all are evidenced. Each action has a consequence. Some are only visible by comparison with similar areas but all are ongoing, perpetual, relentless... These marks of time and tide can be viewed as damaging and destructive, however, this collection of contemporary jewellery aspires to challenge any negative connotations by allowing the beauty of the marks to become a celebrated feature. At times, the hand of the maker will be visible and at others, changes will continue - the narrative being added to through movement and by being worn.�
Changes Half Round Necklace, hallmarked sterling silver, jesmonite, metal filings Changes Half Round Necklace, and painted wood Photography: Val Muddyman 18
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Teresa Munn
2016 MA Ceramics, University for the Creative Arts, Farnham Teresa Munn writes with clay, exploring relationships with landscape. “Our earliest records were inscribed clay tablets, and one has a sense of continuity in using clay as a medium for script. Intriguing shapes and shadows are formed by 3 dimensional slip-trailed text, raised above a background of either clay or ink. Shadows move with the light, echoing our hazy, shifting memories of experiences”. The work employs her own words, along with extracts of classical and contemporary poetry, such as Sheers’ verse 'There are places that speak, Telling the stories of us and them…' “Stories held in familiar landscapes help to anchor us in turbulent times, linking the past with hopes for the future”. The artist’s investigations have broadened from solely personal experiences and memories. Recent work includes stories from individuals who have moved here for sanctuary. “The landscapes of their previous lives are lost to them, probably forever. Describing a favourite place releases memories of happier times and hopes for new connections”.
We Walked From Night To Morning, porcelain and ink We Walked From Night To Morning, Photography: Teresa Munn 20
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Alex O'Connor
2017 BA (Hons) Silversmithing and Jewellery, Truro College Alex O’Connor creates silverware that is unadorned yet subtly tactile, celebrating the material while attempting to evoke ephemeral sensations through the metal. She is based in west Cornwall and her recent work is an impressionistic response to this resilient, elemental landscape. “Vessels are a consistent presence in my work; these potent, archetypal objects are functional but they also serve a purpose that is more reflective or contemplative. They are containers for memory, meaning and a sense of place; sculptural objects that merge ideas, form and technique.�
Veer pouring vessel and companion, sterling silver Veer pouring vessel and companion, Photography: Paul Mounsey 22
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Anna Peake
2018 BA (Hons) Glass, Ceramics, Metalwork & Jewellery, University for the Creative Arts, Farnham From wall murals to jewellery, Anna creates representations of places using contours of the land to produce a 3D topographical work of art. Using many different techniques and materials, she endeavours to create work of various scales that represent places of personal importance. Anna is currently in her final year of studying Glass, Ceramics, Jewellery and Metalwork at The University for the Creative Arts in Farnham. Anna’s working methodology employs the traditional processes of lost wax casting and the modern digital technologies of laser cutting to create innovative and unique work. A personal connection between the owner and the work is an important element of what Anna creates, she explains it as “creating art with the layers of your life”. Originally her inspiration came from the beautiful landscape of Wales in which Anna grew up. However most recently Anna has applied her methodical way of working to create a collection inspired by the contours of Farnham nestled in the rolling Surrey Hills where Anna now resides.
Tylwch (detail) MDF and acrylic Tylwch Photography: Anna Peake 24
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Rebecca Rowland-Chandler
2018 BA (Hons) Glass, Ceramics, Metalwork & Jewellery specialising in kiln glass, University for the Creative Arts Rebecca’s aim is to create beautiful objects in response to the natural world that are an allusion, rather than a replica. Her creative practice involves researching structural and decorative artistic elements, which combine the organic with the geometric. Originally inspired by patterns in sedimentary rocks of Hunstanton Cliffs in Norfolk, she has developed a layered design that she translates into all landscapes in which she responds to. Monochrome Dunes is a response to patterns seen from an aerial perspective of sand dunes and farmland, and Manyara Highlands represents the contours and colours in the East African Rift Valley, Lake Manyara, in Tanzania. Her sculptures are made by fusing sheets of glass together in moulds, separate colour application, and many days of polishing to reach high transparency.
Marble Dunes, Marble Dunes, glass Photography: Becky Ellison 26
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Joshua Schoeman
2018 BA (Hons) Ceramics and Glass, University of the Creative Arts, Farnham Joshua’s ceramic vessels are inspired by industrial waste and
coastal detritus. He is fascinated by the way in which shattered glass, metal fragments and splintered wooden boards are eroded by the elements, eventually decomposing and re-joining the earth. This process takes place openly on the coast, where he scavenges for the fragmented remains of human existence in the form of corroded household items and discarded building supplies. The ceramics he forms are developed from the abstract sketches of the detritus he collects, while for decoration Joshua uses paddles and plaster roulettes textured with the indents of his collection. Imprints of rusted bolts, beer cans and twisted tableware mark the flesh of Joshua’s work. Within his ceramic practise, Joshua is led by the principles of Sustainable Design, in which he strives to source materials locally and naturally, reduce energy consumption and decrease his net carbon and toxin output. This method of working frequently presents new challenges, however he finds that grinding down ocean glass, chalk and rust to imbue within his ceramics creates a direct and honest tie between himself, his work and the environment that he is inspired by. Joshua titles his work Fertility Jars on the grounds of his awe at how the ecosystem surrounding us continuously repairs and enriches itself. He hopes that by establishing new techniques for making ecologically minded ceramics he will be able to share his aspiration with others to create a sustainable future for the craft. Fertility Jar, ertility Jar, ceramic Photography: Joshua Shoeman 28
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Claire Lucia Skelton
2016 BA (Hons) Contemporary Applied Art, Silversmithing and Jewellery, Belfast School of Art “What if jewellery was once again circulated as a currency; in its simplest form without decoration or embellishment, made to be treasured, traded and exchanged? These rings are contemporary interpretations of ancient status jewellery found around the globe. They offer tokens of metallic worth to be worn, handled and reworked.” As a maker, Claire creates jewellery from which type of metal is at hand. Her way of respecting what she has found is to not waste it. “I melt down fragments and dust to forge a new piece time and again, whether it is gold, silver or pewter.” As an artist, she is interested in how the unique surfaces of hammer marks, the scale, or the satisfying weight of an object, are all elements that draw the viewer to become the wearer.
In Circulation, Lunula, In Circulation, Lunula, pewter Photography: Glenn Norwood 30
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Mariam Syed
2016 BA (Hons), Textile Design, Glasgow School of Art Mariam is a passionate woven textile designer based in Glasgow who loves weaving and exploring new weave techniques. She designs silk scarves in her studio which are woven in small batches in a traditional English mill. She also designs and weaves rugs and fabrics for interiors. Her Design practice encapsulates everything she is passionate about: weaving, vibrant colours, architecture and geometry. A mathematician at heart, geometric patterns are quite central to her woven designs and she loves the challenge of constructing new weave structures from her primary research and drawings. Working with her hands to create objects has always interested her and she finds weaving extremely relaxing, invigorating and stimulating. Much of the inspiration for her woven designs comes from the visual culture of Pakistan. She is in awe of the vibrant coloured Pakistani trucks set against the magnificent Colonial British Architecture in the old town of Karachi. Pakistani trucks look like giant kaleidoscopes of brilliant colours and patterns; much like an art gallery on wheels! She loves the explosion of pattern and pop colours on the trucks and picking out geometric patterns from the city buildings. Mariam strives to achieve the same boldness of colour in her woven designs and balance the vivid colours with the earthy tones of the buildings.
Striped Facade in Vermilion Scarf, triped Facade in Vermilion Scarf, silk Photography: Susan Castillo 32
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Mona Tabbicca
2016 BA (Hons) Silversmithing, Goldsmithing & Jewellery, University for the Creative Arts, Kent Mona's work consists of sculptural jewellery in sterling silver,that are “contemporary in design yet timeless unisex pieces that evoke confidence, strong personality and the wearer’s individuality”. Geo-scapes XI is influenced by architecture borne of both brutalist modernism and contemporary designs in London and Glasgow through the artist’s own images captured on walks and visits. By combining the core geometric shapes from the different architectures, she constructs using basic shapes exhibiting rectilinear, triangular and curvilinear properties, which are juxtaposed to achieve unique and dramatic shapes in terms of both scale and structure.
Stacking Trio 3, oxidised 925 sterling silver, 925 textured silver ring Stacking Trio 3, Photography: Mona Tabbicca 34
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Emma Philippa Maeve
2018 MA Design Fashion and Textiles, Bath Spa University Emma’s objective is to document her journey and research has been gathered from her stay in China that is translated and developed into forms of applied arts as a practising designer maker through techniques such as print and embroidery. Design development will continue to be created using the methodology of Flaneur, where documentation has been processed and two collections will be developed. Combining both natural landscape and urban landscape that will be inspired by surface and pattern. Flaneur – a man who saunters around observing society. Ethnography – a systematic study of people and culture. How the design has developed from last year and continuation of abstract process and working within the market to work in applied arts. The work carried out was based from primary research, travelling in China and parts of Zhangjiajie, Shanghai, Xuzhou and Beijing. Working in a narrative to provide structured digital embroidery pieces.
Building Stacks, digital embroidery Building Stacks, Photography: Emma Philippa Maeve 36
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Louisa Warren
2018 BA (Hons) Glass, Ceramics, Metalwork & Jewellery, University for the Creative Arts, Farnham Louisa’s enamelled collection captures some of the beautiful blends of colours found in nature. The shapes of each piece are based on the swirling brush marks of colour in the acrylic paintings of her inspirations. She uses her painting to help her develop both the forms and sophisticated colour palettes, creating a refined piece from the experimental nature of her painting. Through extensive investigation of the enamelling process, she has created a technique to allow the colours to blend and move organically, making each piece truly unique. All pieces are in sterling silver and fired individually to extremely high temperatures to produce striking colours which are also adaptable to personal preferences. The addition of semi-precious stones enhances the enamel and draws out the rich colours, creating highlights alongside the sweeping lines.
Blue Enamel Pendant, sterling silver, vitreous enamel & blue cubic zirconia Blue Enamel Pendant, Photography: Louisa Warren 38
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Kas Williams
2017 MA Textiles, University for the Creative Arts, Farnham Kas is a textile artist making work of individual character using a mixture of materials to create sophisticated pieces that combine craft elements with abstract imagery. Inspiration comes from an eclectic range of sources - from ethnic design, tribal symbolism and body art to the organic structures in adventurous architecture and the patterns of the natural world that microphotography reveals. Playful use of colour with pattern and texture is a signature of Kas’ work. Experimentation and play are key for Kas to finding new ways to express herself, and her natural curiosity responds to the unpredictability that comes with this. The freedom to re-invent and re-assemble is very seductive, and her work conveys this sense of enjoyment in the making. Her acrylic wall pieces are made using a process Kas calls three dimensional painting: the pinning of printed acetate shapes to create a subtle layering of colour and pattern that float off the surface. Kas is currently Artist in Residence at the University for the Creative Arts, Farnham, and she has previously exhibited across London and the South East.
Wild Pollen 2, multi-layered printed and pinned acetates on a Wild Pollen 2, laser cut acrylic frame Photography: Beytan Erkmen 40
Rising Stars 2018 is organised by The New Ashgate Gallery in partnership with the University for the Creative Arts. The exhibition is supported by the Billmeir Charitable Trust.