o f p l ac e & t i m e o f p l ac e & t i m e
m a rt h a h o l m e s a d r i a n m i tc h e l l m a rt h a h o l m e s j a c k d o h e rt y a d r i a n m i tc h e l l j a c k d o h e rt y
New Craftsman Gallery 1 st August – 4 th September 2020 (see website for opening times & full collection) Exhibition Overview by Curator Sarah Frangleton
o f p l ac e & t i m e
The exhibition, Of Place and Time, brings together three artists working in distinctly different mediums; Painter, Martha Holmes, Woodturner Adrian Mitchell and Ceramic Artist, Jack Doherty. The work of all three shows their deep engagement with landscape and a particular sense of place. The changes and effects of passing time is reflected in their individual studio practice. Martha Holmes paints directly in response to the moment. Absorbed in capturing the shifting light and changing seasons through her abstract sea and skyscapes. Adrian Mitchell sources wood from his local landscape to make his turned vessels. He harnesses the natural beauty that transforms the green material into organic sculptural shapes through time. Jack Doherty’s soda-fired porcelain forms connect people, pots and place inspired by archetypal functional vessels from history.
Martha Holmes / Painter
Artist Statement
I am a painter working both plein air and from my studio in Falmouth. Process, and the space I work in, has always been important and I am fascinated by the shifting identity of both the north and south coastlines of Cornwall. My work is a reaction to the way a landscape alters throughout the day - the colours, the intensity of light and the changes in weather fronts influence how a painting evolves. Time controls the components to my paintings and encourages me to be present within my work. My paintings are momentary. It is the passing of time and the visual changes within the landscape that are reflected in the spontaneous energy of my brush strokes, giving the works a sense of immediacy. I rarely plan a painting or have preconceived ideas of how it will form, I simply respond to the visual immersive experience in that moment. They are an elemental reaction of time and place.
Collection
1-5
6 - 10
11 - 15
16 - 20
21 - 24
25 - 28
29 - 32
33 - 34
39 - 40
35 - 36
37 - 38
41 - 42
43 - 44
45 - 46
47 - 48
49 - 50
51
List of works (see online for complete collection)
Description (oil on board)
Dimensions (mm)
Price
1
Along Gwithian
300 x 300 (460 x 460 framed)
450
2
Dark Sea from the Studio, St Ives
300 x 300 (460 x 460 framed)
450
3
June Afternoon from the Studio
300 x 300 (460 x 460 framed)
450
4
Ochre Hills near Porthmeor
300 x 300 (460 x 460 framed)
450
5
Soft Colours along Gwithian
300 x 300 (460 x 460 framed)
450
6
Blue Sea and Green Headland, Gwithian
300 x 300 (460 x 460 framed)
450
7
Green Summer Landscape, Flushing
300 x 300 (460 x 460 framed)
450
8
Landscape over Zennor
300 x 300 (460 x 460 framed)
450
9
Soft Spring Light near Carbis Bay
300 x 300 (460 x 460 framed)
450
10
Spring Sea, Porthmeor
300 x 300 (460 x 460 framed)
450
11
Blue Sea, Porthmeor
300 x 300 (460 x 460 framed)
450
12
Island on a Bright Day
300 x 300 (460 x 460 framed)
450
13
Moving Tide on Porthgwidden
300 x 300 (460 x 460 framed)
450
14
Soft Summer Hues over Gwithian
300 x 300 (460 x 460 framed)
450
15
White Waves Porthmeor
300 x 300 (460 x 460 framed)
450
16
Bright Summer Headland from the Studio
300 x 300 (460 x 460 framed)
450
17
Summer Light on Porthmeor
300 x 300 (460 x 460 framed)
450
18
Summer’s Day on Porthmeor
300 x 300 (460 x 460 framed)
450
19
Spring on Porth Beach
300 x 300 (460 x 460 framed)
450
20
Walking Towards Zennor
300 x 300 (460 x 460 framed)
450
21
Summer’s Day, St Ives
300 x 300 (460 x 460 framed)
450
22
Dark Horizon, Soft Dunes, Gwithian
600 x 600 (800 x 800 framed)
950
23
Late Spring Studio View, Porthmeor
600 x 600 (800 x 800 framed)
950
24
Low Tide near the Island
600 x 600 (800 x 800 framed)
950
25
Blue Day Porthmeor II
600 x 600 (800 x 800 framed)
950
26
Fresh Green Landscape, Zennor
600 x 600 (800 x 800 framed)
950
27
Low Tide - far end of Gwithian
600 x 600 (800 x 800 framed)
950
28
Summer Afternoon, Sandy Acres
600 x 600 (800 x 800 framed)
950
29
Blue Sea on Gwithian
600 x 600 (800 x 800 framed)
950
30
View from the Porthmeor Studios
600 x 600 (800 x 800 framed)
950
31
Looking out of the Studio, Falmouth
600 x 600 (800 x 800 framed)
950
32
Blue Day Porthmeor I
600 x 600 (800 x 800 framed)
950
800 x 800 (1000 x 1000 framed)
1250
33
Across the Sand Dunes, Gwithian
800 x 800 (1000 x 1000 framed)
1250
34
Low Tide and Summer Light Porthmeor
800 x 800 (1000 x 1000 framed)
1250
35
April Afternoon from the Studio
800 x 800 (1000 x 1000 framed)
1250
36
The Island, Porthmeor
800 x 800 (1000 x 1000 framed)
1250
37
Blue and Green Landscape, St Ives
800 x 800 (1000 x 1000 framed)
1250
38
Yellow Fields, Zennor 610 x 1300 (1100 x 1500 framed)
1450
610 x 1300 (1100 x 1500 framed)
1450
39
Dark Sea and White Water, St Ives
40
Over the Dunes, Sandy Acres
Description (oil on paper)
Dimensions (mm)
Price
41
Low Tide on Porthmeor
420 x 420 (620 x 620 framed)
550
42
Over the Dunes, Gwithian
420 x 420 (620 x 620 framed)
550
43
Over the Dunes towards St Ives
420 x 420 (620 x 620 framed)
550
44
Walking Along Zennor
420 x 420 (620 x 620 framed)
550
45
The Island, St Ives
420 x 420 (620 x 620 framed)
550
46
View from Porthminster
420 x 420 (620 x 620 framed)
550
47
Green Headland Zennor
420 x 600 (620 x 640 framed)
650
48
Porthmeor View
420 x 600 (620 x 640 framed)
650
49
July Colours on Porthgwidden
420 x 600 (620 x 640 framed)
650
50
Summer in St Ives
420 x 600 (620 x 640 framed)
650
51
June Afternoon Gwithian
420 x 600 (620 x 640 framed)
650
Adrian Mitchell / Wood Turner
Artist Statement
I like to work intuitively without too many rules, using wood from the local landscape. I work in green, or wet, wood and allow it to dry in controlled conditions so natural distortions take place, sometimes over several months. I often choose material that will give interesting and unpredictable results, for instance wood from the fork of a tree, or a junction between trunk and branch. Working intimately with each piece of wood on the lathe, I endeavour to create satisfying forms that establish a point from which the material can express itself through the drying process. When it is dry the finished work holds a story - revealing characteristics of the species, the age of the tree, which part it came from, and where and how it grew. Stresses in the wood determine how it shifts, folds or splits as the moisture content drops. This is what fascinates me.
How I work
My work comes from a deep-rooted love of the natural world. I’ve always been fascinated by trees and how their growth is affected by their environment. An oak tree in the middle of a field appears very different from one growing in densely packed woodland, in a hedgerow, or on a windswept hillside. A 100 year old tree can reach a height of 40 metres with a perfectly straight trunk or, in different conditions, it can be stunted at two metres with wildly contorted limbs. Inevitably these differences affect the quality of wood the tree produces. In my work I try to explore some of these differences. I work only in wet or green wood, often selecting material from the fork of the tree that will distort unpredictably as the finished piece dries. I like to think that each piece tells its own story about the species and age of the tree, where it came from and how it grew.
Most of my recent work is made of wood from the ancient Devichoys wood, which is composed mainly of Sessile oak . Cornwall’s native Sessile oak has an open, ring-porous grain which encourages unrefined, elemental work that reveals the natural structure and texture of the wood. Devichoys, which was traditionally coppiced to produce fuel for the local foundry and gunpowder works, has been virtually untouched since before the 2nd world war. It is now managed by the Cornwall Wildlife Trust and is being coppiced once again, as part of a woodland regeneration programme, by Tom Kemp and Nick Jarvis of Working Woodlands Cornwall. I’m grateful for the opportunity of going to the woods to select the material myself - restricted only by the size I’m able to move and take back to my workshop. It’s important for me to be engaged with the material from an early stage, maintaining a continuum and layering of place, source, history and the passage of time. February 2020
Collection
2&3
4&1
6
7
8
9
11
12
13
14
17
20
15
16
18
23 & 24
19
24
25
27 & 30
34
39
43
26
29 & 28
31
32
35
38
44
33
38 & 46
36
47
41 & 42
41 & 42
List of works (see online for complete collection)
Description
Source of Material
Dimensions (mm)
Price
1
Hollow form in Norway maple - sanded with oil finish
Enys gardens
135dia x 135h
120
2
Hollow form in sweet chestnut - sanded with oil finish
Scott’s wood, North Helford
125dia x 110h
120
3
Hollow form in ash - sanded with oil finish
Enys gardens, Penryn
145dia x 120h
120
4
Hollow form in sweet chestnut with copper staple - sanded with oil finish
Scott’s wood, North Helford
160dia x 115h
130
5
Hollow form in holly with copper staples - sanded with oil finish
Devichoys wood, Penryn
210dia x 110h
250
6
Hollow form in holly - sanded with oil finish
Devichoys wood, Penryn
270dia x 110h
250
7
Hollow form in Norway maple - sanded with oil finish
Enys gardens, Penryn
290dia x 85h
250
8
Hollow form in sessile oak - unsanded with oil finish
Devichoys wood, Penryn
290dia x 140h
300
9
Hollow form in sessile oak - ebonised with copper staples, unsanded with oil finish
Devichoys wood, Penryn
375dia x 125h
650
11
Hollow form in sessile oak - fumed, unsanded with oil finish
Devichoys wood, Penryn
280dia x 220h
200
12
Hollow form in sessile oak - fumed, unsanded with oil finish
Devichoys wood, Penryn
220dia x 170h
170
13
Hollow form in holly - unsanded with oil finish
Devichoys wood, Penryn
350dia x 160h
600
14
Hollow form in sweet chestnut - sanded with oil finish
Scott’s wood, North Helford
400dia x 230h
800
15
Hollow form in beech - sanded with oil finish
Enys gardens, Penryn
360dia x 110h
600
16
Hollow form with lip in sessile oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
260dia x 230h
600
17
Hollow form with lip in sessile oak - unsanded with oil finish
Devichoys wood, Penryn
300dia x 280h
650
18
Bowl in sessile oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
245dia x 155h
180
19
Bowl in Turkey oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
270dia x 165h
180
20
Bowl in Turkey oak - unsanded with oil finish
Devichoys wood, Penryn
280dia x 180h
180 220
21
Bowl in Turkey oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
300dia x 200h
22
Bowl in Turkey oak - unsanded with oil finish
Devichoys wood, Penryn
360dia x 215h
220
23
Bowl with brass base in sessile oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
225dia x 180h
225
24
Bowl with brass base in sessile oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
220dia x 175h
225
25
Bowl with brass base in sessile oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
180dia x 200h
225
26
Bowl with brass base in sessile oak - fumed, unsanded with oil finish
Devichoys wood, Penryn
195dia x 230h
225
27
Bowl with brass base in sessile oak - fumed, unsanded with oil finish
Devichoys wood, Penryn
200dia x 170h
225
28
Bowl with brass base in sessile oak - fumed, unsanded with oil finish
Devichoys wood, Penryn
185dia x 150h
225
29
Bowl with brass base in sessile oak - fumed, unsanded with oil finish
Devichoys wood, Penryn
195dia x 165h
225
30
Bowl with brass base in sessile oak - unsanded with no finish
Devichoys wood, Penryn
170dia x 235h
225
31
Bowl with brass base in sessile oak - unsanded with oil finish
Devichoys wood, Penryn
200dia x 180h
225
32
Bowl with brass base in cherry - sanded with oil finish
Penryn garden
185dia x 220h
225
33
Hollow form in sessile oak - unsanded with oil finish
Devichoys wood, Penryn
125dia x 195h
130
34
Hollow form in sessile oak - unsanded with oil finish
Devichoys wood, Penryn
145dia x 180h
130
35
Hollow form in cherry - sanded with oil finish
Penryn garden
180dia x 205h
150
36
Hollow form in holly - sanded with oil finish
Devichoys wood, Penryn
230dia x 410h
500
37
Hollow form in holly - sanded with oil finish (see website for image)
Devichoys wood, Penryn
180dia x 275h
200
38
Tall hollow form in Turkey oak - unsanded with oil finish
Devichoys wood, Penryn
290dia x 410h
950
39
Tall hollow form in Turkey oak - unsanded with oil finish
Devichoys wood, Penryn
310dia x 415h
950
40
Tall hollow form in Turkey oak - unsanded with oil finish (see website for image)
Devichoys wood, Penryn
290dia x 470h
1000
41
Tall hollow form in sessile oak - unsanded with oil finish
Devichoys wood, Penryn
280dia x 540h
1450
42
Tall hollow form in sessile oak - unsanded with no finish
Devichoys wood, Penryn
270dia x 580h
1450
43
Tall hollow form in sessile oak - fumed, unsanded with oil finish
Devichoys wood, Penryn
265dia x 430h
1250 700
44
Tall hollow form with solid base in Turkey oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
200dia x 445h
45
Tall hollow form in sessile oak - ebonised, unsanded with oil finish (see website for image)
Devichoys wood, Penryn
245dia x 475h
1000
46
Tall hollow form in sessile oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
265dia x 450h
1000
47
Tall hollow form with solid base in Turkey oak - ebonised, unsanded with oil finish
Devichoys wood, Penryn
-
1250
Jack Doherty / Ceramic Artist
Artist Statement From the idea that history, time and tradition can be a dynamic and changing force, I consider our need for clay objects and ask questions about their changing role in a contemporary world. I look at the ways people made things before art or craft. For me, the concept of function is ambiguous and multi-layered. I make sodafired porcelain forms that contain the qualities of art and utensil. Somehow, the sea, the sky and the land have infiltrated my work. My connection with the landscape is both visual and physical. My work looks back to pre-history and the archetypal vessels used for storing, holding and preserving. Essential pots that once served a practical purpose and held a ritualistic place in both the everyday and the journey into the next world. As containers of emotion and connectors with the spiritual, I want my vessels to inhabit our spaces in light and shadow with nuances of colour and surface texture that neither painting or sculpture can.
Memory Jars; the storage of past memories For me vessels can be messengers and communicators in our technology filled society; containers of ideas, protectors of intangible things and keepers of thoughts. The Memory Jars I have made for this exhibition are containers for the storage of past memories. Objects have the ability to absorb and carry layers of experience embedded within the spaces of the forms and responsive materiality of clay. Near the city of Phonsavan, in Northern Laos, is an area known as the Plain of Jars. Not strictly a plain, it is known as the most heavily carpet-bombed area in the world, peppered with live land mines. The landscape contains a large number of carved stone jars, made between 500BC and 200AD, some of them scarred and blasted by the American bombing in the Vietnam war. The purpose of the jars is mysterious, they were possibly cremation sites, but their story is still unknown.
The Jar form is one of the most ubiquitous in ceramic history, used for storage, keeping and preserving. In my childhood, growing up in Northern Ireland, we called the ceramic whisky bottles ‘stone jars’. They were a valuable commodity to a small child. If we were lucky enough to find one it could be traded in for cash. My work is made using one clay, one mineral and a single firing. Over time the process has become simpler and more refined in the belief that stripping away the unnecessary can produce work with complexity and depth. I enjoy the fluid, sensual nature of porcelain combined with the freedom of throwing and hand-building. My firing technique is unique; a vital and dynamic process using soda as a catalyst to create a reaction with copper to produce a subtle palette of colour and texture closely integrated with the form.
Collection All work is handthrown soda-fired porcelain unless stated
1&5
2
6
7
3
4
8
9
10 - 13
14 - 16
17
18
19
20
25 & 26
21 & 22
27
23 & 24
28 - 30
List of works (see online for complete collection)
Description
Dimensions (cm)
Price
1
Memory Jar I (in the order shown on mantlepiece image)
H34 x D17
£850
2
Memory Jar II
H37 x D22
£1,100
3
Memory Jar III
H38 x D21
£1,100
4
Memory Jar IV
H35 x D21
£980
5
Memory Jar V
H41x D15
£950
6
Square Memory Jar
H46 x D10
£950
7
Guardian Vessel I with carved rim
H34 x D34
£3,500
8
Wide Rimmed Guardian Vessel II
H30 x D30
£2,800
9
Wide Rimmed Guardian Vessel III with carved interior
H29 x D30
£2,500
10
Harbouring Vessel I
H25 x D10
£320
11
Harbouring Vessel II
H21 x D8
£280
12
Harbouring Vessel III
H16 x D10
£280
13
Harbouring Vessel IV
H23 x D 9
£270
14
Harbouring Vessel V
H38 x D8
£650
15
Harbouring Vessel VI
H38 x D11
£750
16
Harbouring Vessel VII
H34 x D10
£680
17
Smokey Pod Form
H25 x D22
£980
18
Round Pod with lemon flashing
H14 x D18
£380
19
Wide Rimmed Pod with carved interior
H20 x D25
£980
20
Smokey Grey Wide Rimmed Vessel with carved interior
H19 xD28
£1,100
21
Tall Rimmed Vessels
H15 x D13
£420
22
Tall Rimmed Vessels
H16 x D13
£420
23
Conical Vessel I
H19 x D22c
£520
24
Conical Vessel II
H14 x D18
£380
25
Conical Vessel III
H11 x D14
£160
26
Conical Vessel IV
H11 x D13
£160
27
Oval Vessel I
H18 xD19c
£490
28
Oval Vessel II
H12 x D12
£360
29
Oval Vessel III
H11 x D14
£280
30
Oval Vessel IV
H14 x D14
£220
Photography: Rebecca Peters Photography: Rhona McDade / Goodrest Studios Shoot Location: Morgans Gallery & Studios, Falmouth Publication Design: Martha Holmes Paper FSC certified paper from sustainable and recycled sources printed by Westdale Printing Group Online For full collection of works please see our online catalogues at www.newcrafstmanstives.com Questions Please email us at info@newcraftsmanstives.com or call us on 01736 795652
www.newcraftsmanstives.com
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info@newcraftsmanstives.com
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