We are pleased to announce the recent publication of
P H I L R O G E R S a portfolio goldmark
works f rom the oil-f ired kiln
PHIL RO GERS a por tfolio
Squared and Faceted Bottle 14 inches tall, 2009 opposite
Three Press-Moulded Bottles 10 inches tall, 2009
After some years of comparative unpopularity the tenmoku glaze has again achieved the recognition that it deserves. I love tenmoku: the richness of the deep black contrasted with the dramatic break to red on edges and ridges lend a majesty and timeless sculptural quality to pots. opposite left: A tenmoku glaze with finger-wiped decoration. I coat the piece with a slip made from a local red clay. The clay is a coarse earthenware that I dig in the woods above the pottery. The action of wiping the wet glaze away with the fingers leaves a thin residue of glaze on top of the slip. The red colour of the slip is heightened by the fluxing action of the residual glaze. middle: Exactly the same technique as the previous bottle but this time with a nuka glaze. right: Another press-moulded bottle with a tenmoku glaze and finger-wiped decoration. I enjoy the challenge of taking a number of identical forms and decorating them in different ways.
WO R K S F R OM T H E S A LT K I L N
PHIL RO GERS a por tfolio
works f rom the wood kiln
Tall Bottle wood fired with ash glaze, 14 inches tall, 2009
Fired immediately in front of the fire as it enters the main chamber, this bottle has taken the main blast of the heat and vapour. The ash glaze has trickled downward due to the extreme heat, creating a kind of kinetic decoration. The blushed colour is a result of a high alumina clay and the effect of a smaller pot standing in front which, in part, shielded the surface from the flame.
Six different yunomi all fired in the wood kiln. The glazes include Shino, Buncheong style or, in Japanese terminology, Kohiki and an unglazed surface that derives its colour from a high alumina clay body and the action of flame, vapour and ash. The different glazes take advantage of the almost inevitable variation in temperature within the wood kiln.
PHIL ROGERS a portfolio Published by Goldmark and available in two versions: STANdARd HARdbAcK 112 pages, size 245 x 270 mm hardback with wrap cover. Price £25 +p&p cOLLEcTOR’S HARdbAcK 112 pages, size 245 x 270 mm hardback with wrap cover, signed. Includes a signed and numbered sugar-li etching by Phil Rogers. Edition of 100. Special price £100 +p&p To order phone 01572 821424 or buy online at goldmarkart.com
limited edition etching
PHIL ROGERS a portfolio ‘His work is mindful of the past, while clearly demonstrating an inquisitive hope for the future of handmade pots.’ Sherman Hall elegant stoneware of Medieval Europe to the honest, unpretentious quality of the Korean potting tradition.
Phil Rogers’ pots inspire ceramic artists and collectors around the world. In this Goldmark publication, Rogers pulls together the sources which have fed his creativity over the years, sharing with us his delight in diﬀerent pots throughout the ages. With over 120 colour photographs, Rogers highlights the links between his own work and those selected pieces he most admires; from the
Separate chapters on the oil, salt and wood kilns give insight into the techniques required to produce certain colours and textures, as well as into the thought processes and challenges unique to each method. Whilst Rogers pays homage to his predecessors throughout the book, his own importance as influencer and innovator is addressed by the four contributor essays included in the final section. is portfolio is for anyone interested in what lies behind the beauty of these pots and what makes them such a pleasure to handle and use.
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