Alchemy

Tim Copsey Kim Colebrook Marek Pitera Faith Mowbray Maria Ignacia Walker Rosalind Hobley Esther Palmer Victoria Meadows Diane Griffin Alice McCabe Jo Pearl

Alchemy

A catalogue of artwork and installation views of Alchemy, a collaborative exhibition by OmVed Gardens & Thrown

Featuring a collection of installation images of the exhibition on launch at OmVed Gardens, Highgate All installation views by photographer Will Hearle for OmVed Gardens

A collaborative exhibition and events pro-

from the alchemy of nature, earth and water.

gramme by specialist craft gallery Thrown

Metallic finishes also transform the sculp-

and greenscape, food project, and sustaina-

tured clay of Diane Griffin’s work, one of her

bility hub OmVed Gardens.

many skills in adapting this material, whose Ego Sum Terra ( I am Earth) series explores

‘Alchemy’ intertwines the transformative el-

our spiritual relationship with the world

ements of craftsmanship and nature, an al-

around us. Furthermore, in the work of María

chemical union of human creativity and the

Ignacia Walker, silver-plating is uniquely used

dynamic, rhythmic forces inherent in the nat-

on hand-sculpted ceramic works in a project

ural world.

to immortalise the native vegetation of the forests of her birthplace of southern Chile.

Set amongst the metal-gridded glasshouse and restorative gardens of OmVed Gardens,

Strong connections to our home landscapes

Highgate, the theme of ‘Alchemy’ is ex-

and the elements that make them also come

plored by bringing together works in ceram-

through: in the porcelain work of Kim Cole-

ics, mixed media and print-making, mixed

brook, inspired by the geology and history of

further with events in craft, music, food and

the South Wales Valley’, the abstract sculp-

nature. This mixed group exhibition puts a

ture of Marek Pitera, built through blends of

strong focus on process and the artist’s ability

stoneware bodies and local London clay pros-

to transform material, harness natural reac-

pected from the vicinity of his studio; and the

tions and express our own connections to the

smoke-fired vessels of Victoria Meadows with

natural world.

changing surfaces created directly by the natural materials around her home in the

The glittering reflections of Tim Copsey’s ce-

Cotswolds.

ramics, described as like ‘space debris’, play on the metallic references of ‘Alchemy’ while

Reactions in material, both natural and con-

their inspiration, the artist’s home in the Peak

trolled, are further brought into focus by the

District, brings together two of the elements

cyanotype prints of Rosalind Hobley, embrac-

Alchemy ing the blurs, the blurs, brushstrokes and

parts of the images being lost. These pieces

translation of her botanical photograph-

tell stories of seeing the world in sometimes

ic images through this process. While the

mysterious and sometimes magical ways,

sculptural ceramics of Faith Mowbray also

hung to be approached from different dis-

allow for collaboration with material, led by

tances and different angles throughout the

patterns formed by slip that transform by

exhibition to encourage another view.

the artist’s hands into unfurling botanical forms.

The group is completed by the towering ceramic sculptures of Esther Palmer whose

This ability to give static objects life is cen-

work is largely rooted in the interweaving

tre stage in Jo Pearl’s ‘Unearthed’ series, a

narratives of landscape and deep time.

campaigning yet enchanting combination

Seeking to honour the natural rhythms of

of clay stop-frame animation and ceramics

body, seasons and earth through the mak-

which celebrate and investigate the hidden

ing of ceremonial landmarks, thoughts on

world of soil. The exhibition also debuts her

connectedness

brand new series of Kinetic ‘stabiles’, breath-

echo the place within their exhibition as

ing life into these ceramic beings with mi-

they stand both within the glasshouse and

crobes, worms and mycelium spinning and

amongst the gardens at OmVed.

swinging in space.

The paintings of Alice McCabe further send us spinning with two stand-out works. Collaged hand-cut milk bottle tops spiral and dart around their surfaces, a reference to the milk bottle tops the artist has been collecting since living in Zurich, offering additional layers of meaning while giving incomplete images as their shape often results in some

within

these

sculptures

Tim Copsey The Peak District Pennine landscape and its

His work has been described as ‘beautifully

seasons are the backdrop to everything Tim

uglyr like ‘space debris’ - he hopes that the

Copsey makes. This is pottery on the border

work is playful, elemental if occasionally jar-

between function and sculpture; in essence

ring or surprising and ultimately resonant

vases, bowls, bottles and cups, although

of their materiality and the landscape from

these are really just ‘Serving Suggestions’.

which they derive.

Works such as the Waterfall pieces are di-

Tim works from his studio in the Peak Dis-

rectly Inspired by observing and depicting

trict, alongside working with artists and cre-

how water races over and around rocks, glis-

ative organisations as a filmmaker. His work

tening and reflective, as direct a reference to

has been exhibited in solo and group exhibi-

pouring as the onomatopoeic ‘tok tok’ of the

tions across the UK and featured in the pub-

tokkuri form.

lication ‘Contemporary British Studio Pottery, Forms of Expression’ by Ashley Thorpe

Tim finds deep inspiration in Japanese forms

(published by the Crowood Press (2023)). He

and techniques, early experiments in cam-

recently completed an AA2A (Artists in Art

ouflage such as dazzle, Prehistoric ceramic

Schools) residency at UCLan working with

forms and Situationist art.

the MA students, allowing him to explore work on a larger scale.

Gold Waterfall (Issues Edge) Shino, ash & tenmoku glazes, black porcelain dust, gold lustre, h. 50 cm

Millennial Tattoo Influencer (WHT) Woodfired shino, ash and oribe glaze with gold lustre, h. 30 x dia. 50 cm

Millennial Tattoo Influencer (BLK) Woodfired shino, ash and oribe glaze with gold lustre, h. 30 x dia. 50 cm

Moorland Blossom Vase Tin & cobalt with gold lustre, h. 23 x w.23 cm

1/2 3/ 4 5 1. Copper Guinomi, Copper and cobalt with gold lustre and porcelain inclusions, h. 7.5 cm 2. Gold Guinomi, Tin and cobalt with gold lustre and porcelain inclusions, h. 7.5 cm 3. Oribe Interior Guinomi, oribe and tin with gold lustre and porcelain inclusions, h. 6.5 cm 4. Pink Interior Guinomi, tin and cobalt with silver lustre and porcelain inclusions, h. 7.5 cm 5. Silver Guinomi, Tin and cobalt with silver lustre and porcelain inclusions, h. 7.5 cm

Gold Waterfall Tokkuri Tin, Copper and cobalt, gold lustre and porcelain inclusions, h. 15.5 cm

Esther Palmer “For me, clay serves as a catalyst for con-

“Inspired by the ghosts of the land, and the

templation, remembrance and imagin-

inherent mysteries and energies of the nat-

ing. As we are living through what many

ural world, I try to make space for the ‘un-

would define as a geological epoch of our

canny’ and the tenets of magic where the

own making, the ‘Anthropocene,’ I feel it is

boundaries between the seen and unseen

crucial to envision and manifest alternative

dissolve.”

futures where humans can exist in symbiosis and harmony with the rest of the nat-

“These recent works, ‘Terra Incanta,’ or

ural world. I use the potters wheel as a tool

‘Earth Enchants,’ serve as a lyrical hom-

for metaphorical excavation, experimenta-

age to the wild, untouched expanses of

tion and healing, making animistic miner-

the earth, celebrating their resilience in the

al forms embody growth and movement,

face of adversity presented by oppression,

both rooted in the past and aspiring to rise

prevailing narratives of progress, patriar-

and evolve.”

chal structures, and the grip of capitalism.”

“For this reason my work is largely rooted in

Esther Palmer is a London-based ceramic

the interweaving narratives of landscape

artist who graduated with a MA in Ceramics

and deep time. I see the land we walk on

& Glass from the Royal College of Art in 2023.

as an archive of memories, mythologies and sociocultural histories. Like countless generations before, I seek to honour the natural rhythms of body, seasons and earth through the making of ceremonial landmarks.”

Terra Incanta Red I, II & III Red stoneware H. 75 cm, h. 83 cm & h. 88 cm

Artist inspiration photo: ‘Hallaig’

Terra Incanta White I, II & III & Orb I, II, III, IV, V & VI Ashraf Hanna Stoneware H. 53 cm, h. 49 cm & h. 47 cm H. 10.5cm, h. 9.5 cm, h. 8 cm, h. 9.5 cm, h. 12 cm & h. 9.5 cm

Terra Incanta Black Stoneware H. 105 cm

Diane Griffin “My ceramic sculptures are inspired by our

Born and raised in London, Diane graduat-

human experience, and how we connect

ed with Ceramics B.A.Hons in 1988 and has

with each other and the world around us

worked in ceramics ever since. She has many

through rituals and ceremonies. I first be-

years of teaching experience but committed

came interested in our use of rituals during

full time to her artistic practice in 2015 and

a trip to the Wailing Wall in Jerusalem in

works from her studio in Northamptonshire.

1985. I was fascinated to watch as people

Diane has taken part in many shows and ex-

prayed and left messages as a way to feel

hibitions both nationally and internationally,

a sense of connection to each other, their

including exhibitions at London Art Fair and

spiritual selves and a higher power.”

Collect International Art Fair.

“Religions and cultures across the world

Diane continues to develop her practice and

have used the elements of the natural

her unique visual language in ceramics and

world in ceremonies and rituals for millen-

has recently been awarded Selected Mem-

nia and it is this connection that continues

bership of CPA and is also now included as a

to inspire my work all these years later. We

Master Artisan in the Homofaber Guide.

rely on nature for our existence, our physical and mental wellbeing. Humans and nature, we are essentially as one. My work focuses on the blurring of this boundary. Organic earthy forms combine with elements more ordered and refined. Repeated layers merging and emerging trace the connection and importance of our precious relationship with Mother Earth.”

Alchemy Stoneware & porcelain, slips, glazes, gold lustre, h. 42 x w. 45 x d. 26 cm

Sacred Earth

Elemental Bond

Porcelain & earthenware, glazes, gold lustre,

Stoneware & earthenware, glazes,

h. 14 x w. 17 x d. 11.5 cm

platinum lustre, h. 17 x w. 17 x d. 11 cm

Soot & Ashes Porcelain & earthenware, slips & glazes, h. 17.5 x w. 19 x d. 20 cm

Eternal Earthsong Stoneware, slips, glazes, gold lustre, h. 24 x w. 28 x d. 24 cm

In the Realm of Knowing

Earthen Echoes

Porcelain & earthenware, glazes, gold lustre,

Porcelain & earthenware, slips, glazes & gold lus-

h. 46 x w. 12 x d. 11.5 cm

tre, h. 28 x w. 8 x d. 8 cm

Grounded Unity Porcelain & earthenware, slips & glazes, h. 20.5 x w. 20 x d. 19 cm

Kim Colebrook “Alchemy - a seemingly magical process

“Working with porcelain allows me to ex-

of transformation, creation, or combina-

plore the hidden. Geological layers are built

tion. I see Alchemy in the geology of south

within blocks of clay, in a loose Nerikomi

Wales; the way that the power of the earth

fashion. By slicing sections and rolling I aim

changed decaying trees and plants into

to integrate the translucence of porcelain

coal and iron, and then how the force of the

into my work, creating simple forms that al-

moving plates moved, cracked, and con-

low people to see the layers hidden within

certinaed the solid layers of rock into the

the walls.”

geological strata that makes up the South Wales Coalfield.”

Following a career working in Heritage and Tourism in Wales, Kim Colebrook was a late

“The communities of the South Wales Coal-

comer to her ceramic practice following join-

field are connected by the hidden geology.

ing a portfolio course at Hereford College of

The layers of coal, ironstone and clay which

Arts. She went on to study Contemporary

fuelled the industrial revolution show the

Design Crafts BA, again at Hereford before

power of nature which has distorted and

studying Ceramics MA at Cardiff Met Uni-

split the strata. I use the layers, the geolog-

versity. Upon graduating, she was awarded

ical pressures, as well as the voids created

a Graduate Workshop at the Fireworks Clay

by extraction within my work as a meta-

Studios in Cardiff for a year, before setting

phor for the way that history and memories

up her studio in Abergavenny just before

are buried and distorted with time and dis-

Covid lockdown.

tance.”

Her award-winning work has been exhibited across the UK including selection for Y Lle Celf, National Eisteddfod 2023.

15 Geological Cubes Cut from 1 Block Porcelain, black onyx porcelain, iron spangles, black perspex , 24 x 24 x 12 cm

Tower of Pebbles Porcelain, black onyx porcelain, iron spangles & black perspex, 12 x 28 x 8 cm

Top: Strata

Bottom: 9 Small Cubes on Perspex Plinth

Porcelain, black onyx porcelain, iron spangles &

Porcelain, black onyx porcelain, iron spangles &

black perspex, 40 x 9 x 8 cm

black perspex, 15 x 15 x 7 cm

5 Solid Cubes on Black Onyx Porcelain Plinth Porcelain, black onyx porcelain, iron spangles & black perspex, 21 x 12 x 4 cm

5 Solid Cubes on Black Onyx Porcelain Plinth Porcelain, black onyx porcelain, iron spangles & black perspex, 21 x 12 x 4 cm

Geological Rocking Bowl on Gilded Porcelain Cube

Rocking Geological Rocking Bowl & Pebble

Porcelain, black onyx porcelain, iron spangles, iron

Porcelain, black onyx porcelain, red iron oxide and

oxide & black perspex with gold leaf, 9 x 8 x 8 cm

iron spangles, 40 x 9 x 8 cm 12 x 13 x 9 cm

Geological Rocking Bowl on Burnt Porcelain Cube Porcelain, black onyx porcelain, iron spangles, iron oxides, 12 x 13 x 9 cm

3 Rocking Bowls on Black Perspex Plinth Porcelain, black onyx porcelain, iron spangles & black perspex, 30 x 9 x 5 cm

Alice McCabe Underpinning Alice McCabe’s work is a love

Alice is a mixed media artist creating floral

of misunderstanding and humour, gleaned

installations, paintings and performances

from a keen interest in Dada. An optimis-

often with foraged and found materials of

tic nihilist her work is designed to help the

an ephemeral nature. Alice studied Fine Art

viewer reconstrue – and find space for – col-

Painting BA at the University of Brighton

ourful protest within everyday life.

(2008) before completing her MA in Critical Arts Education and Curation at ZHdK (2014.)

The addition of the collaged hand cut milk

In 2016 she set up Alice McCabe Flowers

bottle tops allow for another layer of mean-

followed by Metafleur in 2020 focussing on

ing or reflection within the work both via

large-scale sustainably designed installa-

content of cut out imagery or everyday use

tions. From 2022 - 2023 she studied on the

or qualities of the materials themselves. She

Turps Studio Programme, bringing painting

began collecting milk bottle tops when liv-

once again to the fore in her practice.

ing in Zurich both purchasing them and collecting them by drinking the coffee creams.

Significant exhibitions include Five by Five,

They are designed in series and often pre-

a group exhibition at Incubator Gallery (Jan

sented as a collection within themselves:

24) that featured pairs of established and

e.g tropical fish, cigar wrappers, the Swiss

emerging artists, including her partner

ski team! Hand cutting her own series, the

Georgie Hopton, as well as Mona Hatoum,

shape of the milk bottle top does not tes-

Maggie Hambling and others.

sellate well so the cut outs always render an image incomplete, with some image lost. The exploration of this presentation of something which is both offering additional layers of meaning, but also missing information, is a vital part of her art making process as it tries to capture how she sees the world.

“A painting about my mother and endless felt cycles of existence; in this case a spiral of women, leading back through time. I have been trying to capture this sensation for a while and this pursuit and feeling continues.” Alice McCabe

Mat(t)er Acrylic, gesso & hand cut milk bottle tops on canvas Milk bottle tops/petals are hand cut from David Austin rose catalogue (many named after women) and Mucha’s cherry painting (signature amended to Mutha.) h. 120 x w. 100 x d. 5 cm

Raindrops keep falling on my heads Acrylic, gesso and hand cut milk bottle tops (featuring Angel’s Trumpets) on canvas, h. 100 x w. 100 x d. 2 cm

Marek Pitera “I work in stoneware, an ancient, earthy and strong ceramic medium capable of expressing an enormously rich range of form, texture and tone. It is perfectly suited for my use of it as an exploration of the subconscious. A bond between each piece and its place of making is created by including London clay sourced from the studio site in the Brent river watershed into most of my clay mixes.”

“My interest in ceramics was ignited by a chance viewing of an exhibit of early Studio Pottery at St. Ives in 2004. This grew over time, and after ten years led me to change career from medical diagnostics to ceramic sculpture. I graduated from the City Lit ceramic diploma course in 2017 following which I spent a few years developing my work, building a studio in West London and teaching myself to build and fire kilns. Self sufficiency and sustainability through recycling are important to me: I fire my work in two downdraught kilns of my own making.

Many of my tools and materials are self-upcycled from found objects.”

Fold 2 Stonewares including foraged London clay, h. 31 cm

Toroid 4 Stonewares including foraged London clay, h. 44.5 cm

Continuity Stonewares including foraged London clay, h. 21 cm

Standing 10 Stonewares including foraged London clay, h. 44 cm

Standing Form 8

Standing Form 9

Stonewares including foraged London clay,

Stonewares including foraged London clay,

h. 37.5 cm

h. 37.5 cm

Horizontal C Form Stonewares including foraged London clay, w. 33 cm

Maria Ignacia Walker “What would a forest immortalized in met-

She graduated in 2007 at the Universidad

al look like? These gardens renew the con-

del Desarrollo, Chile in Art Direction. In 2015

cept of ecology by immortalizing the native

she completed her studies in Florence ob-

vegetation of the forests of southern Chile.

taining a MFA in Jewellery and Body Orna-

They contrast the vegetal contemplation

ments at Alchimia Jewellery School, sup-

and southern melancholy with the hard-

ported by a scholarship from the Chilean

ness and metallic shine, offering a hypnotic,

Ministry of Culture (Fondart).

elegant and alive work.”

In 2018 she was invited to Khio, Oslo NationMaria Ignacia Walker was trained as a jew-

al Academy of Art, to take part in a special

eller and her interest for the human body

artist in residence program in the metal de-

is expressed through different artistic disci-

partment. In the last years Maria has been

plines. She approaches art by working with

travelling to America, Asia and Europe giv-

metal, experimenting with material, using

ing lectures and workshops. She is current-

her craftsmanship to make jewellery, body

ly based in Florence where she teaches at

pieces, objects and installations.

Istituto Lorenzo de’ Medici in Florence and travels for exhibitions and fairs.

Indoors Gardens #02 Ceramic, copper, silver plated, base in sterling silver, 17.5 x 7 x 8 cm

Indoors Gardens #03

Indoors Gardens #14

Ceramic, copper, silver plated, 22 x 11 x 9 cm

Ceramic, copper, silver plated, 28 x 6 x 6 cm

Indoors Gardens #04 Indoors Gardens #17

Ceramic, copper, silver plated, base in sterling

Ceramic, copper, silver plated, 27 x 5 x 5 cm

silver, 36 x 8 x 8 cm

Indoors Gardens #07 Ceramic, copper, silver plated, 13 x 12 x 19 cm

Faith Mowbray “I’m led by the material qualities of clay,

“I’m always looking at 18th century porcelain

starting with the patterns which form on

and its qualities of lightness, frivolity, novelty

the surface of my slip bucket. I’ve tried to

and a thrill in technical innovation. I thought

find new ways to capture qualities of clay in

about that decorative tradition of idealized

its different states from liquid slip to dried

flowers which are almost fairytale-like and

out rubble. Those experiments are always

spring wildly from flat planes into three di-

the starting point for the things I make.”

mensions. The people who made them were experts in the way the human eye

“For this exhibition, I experimented with pro-

finds visual comfort in rhythm and pattern,

cesses that make the fired objects feel alive.

then relishes its disruption.”

Piping and twisting clay makes it writhe of its own accord and when you pinch it, it

Having always drawn and made things,

curls. In the high temperatures of the kiln,

Faith Mowbray started working in ceram-

stalks wriggle further and petals and leaves

ics via membership studios. In 2021 she fin-

slightly unfurl.”

ished an HND in Ceramics at Morley College and now works from The Clay Garden Studio in Hammersmith, London.

Large White Sprig Jar Porcelain & stoneware, h. 33 x dia. 35 cm

Leaf Jar Stoneware, h. 26 cm

Piped & Sprigged Black Jar Stoneware, h. 21 x dia. 17 cm

Sprig Jar Terracotta, h. 17 x w. 26 x d. 21 cm

Pair of Black Wall Sconces Stoneware, each: H. 19 x w. 28 x d. 9 cm

Pair of Sprig Candlesticks Porcelain, each: H. 9 x dia. 14 cm

Pair of Small Sprig Candlesticks Porcelain, each: H. 10 x dia. 16 cm

Rosalind Hobley Rosalind Hobley is a London based artist

Rosalind received a BA Hons in Fine Art

working with an early photographic process

Sculpture from Maidstone College of Art

called Cyanotype. To make these prints she

and went on to be the recipient of the Create

coats heavyweight cotton rag paper with a

Church St Grant; LCN Scholarship; awarded

solution containing iron salts, and exposes

first place in the Alternative Processes Series

them to UV light under a large format nega-

of the 16th Julia Margaret Cameron Award,

tive. The resulting prints are a characteristic

and an Honourable Mention in the Por-

Prussian (Cyan) blue colour.

trait Series. Her work has featured in many publications, as well as the RA Summer

Rosalind’s father and grandfather were seed

Exhibitions and juried shows at the Turner

merchants, and she learned gardening

Contemporary and Hastings Contemporary

from an early age. She currently has a small

Galleries and others.

container garden on her balcony where she grows many of the flowers she photographs.

(She feels that the large Poppy prints refer back to a childhood world, where the relative scale of the plants is larger, and you can lose yourself in the tiny details of each flower.)

Poppy III Cyanotype on Arches Cotton Rag Paper edition of 6 & 2 A/Ps 61 x 61 cm unframed

Poppy I Cyanotype on Arches Cotton Rag Paper edition of 6 & 2 A/Ps 61 x 61 cm unframed

Poppy II Cyanotype on Arches Cotton Rag Paper edition of 6 & 2 A/Ps 61 x 61 cm unframed

All Cyanotype on Arches Cotton Rag Paper, edition of 12 & 2 A/Ps 38 x 31 cm unframed: Hyacinths I

Parrot Tulips I

Ranunculus II

Garden Rose IV

Tulips III

Victoria Meadows Based in the Cotswolds, Victoria Meadows

Using hand building techniques, she con-

was first introduced to clay whilst studying

structs her vessels by coiling and pinching

Art and Design at foundation level in Chel-

the clay to build the forms. This is a care-

tenham. She went on to graduate with a de-

fully considered process, allowing the clay

gree in Ceramics in 1996 from The University

to retain enough of its natural character,

of Wales Institute, Cardiff. Having worked as

the making process visible on the finished

a teacher of ceramics, Victoria is now devot-

surface, indentations, finger prints, rips and

ed to her career as a ceramic artist.

tears. The clay has a memory and it keeps these marks as a record of its creation.

Living in a rural location, Victoria has united her passion for plants with her lifelong

Plant life is wrapped around the vessels and

fascination of historical pottery, considering

saggar fired in a primitive kiln firing fuelled

her work to be a collaboration of nature and

with wood. The foraged wood and organic

craft.

matter used in the firing combined with the elemental conditions on the day all direct the decorative results. Adaptability to the changing weather conditions is crucial, with the aim being to capture the movement, energy, and life of that moment, etched onto a surface. The precarious nature of this style of firing brings enormous vitality and gives Victoria an emotional connection to her work.

Evolution Coil-built ceramic with terra sigillata surface, saggar fired, wrapped in organic plant life before being barrel fired with foraged wood, finished with kintsugi H. 47 x dia. 36 cm

Ancient Moon Coil-built ceramic with terra sigillata surface, saggar fired, wrapped in organic plant life before being barrel fired with foraged wood H. 36 x dia. 36 cm

Sunrise Coil-built ceramic with terra sigillata surface, saggar fired, wrapped in organic plant life before being barrel fired with foraged wood H. 23.5 x dia. 25 cm

Silken Coil-built ceramic with terra sigillata surface, saggar fired, wrapped in organic plant life before being barrel fired with foraged wood H. 17 x dia. 14 cm

Web Coil-built ceramic with terra sigillata surface, saggar fired, wrapped in organic plant life before being barrel fired with foraged wood H. 18.5 x dia. 17 cm

Spirit Coil-built ceramic with terra sigillata surface, saggar fired, wrapped in organic plant life before being barrel fired with foraged wood H. 52 x dia. 34 cm

Jo Pearl Unearthed is a campaigning yet enchanting

Kinetic ‘stabiles’ also breathe life into these

combination of clay stop-frame animation

ceramic beings with microbes, worms and

and ceramics to magically create an illusion

mycelium spinning and swinging in space.

of life celebrating healthy soil teeming with

Each teeters on delicately balanced brass

amazing biodiversity. There is an aptness to

and mild steel rods, expressing the precar-

using clay to investigate the hidden world of

iousness of the fragile equilibrium in our

soil. Playing with scale, Jo Pearl makes the

soil’s biome.

invisible visible as we zoom downwards, discovering ever smaller beings. Balletic char-

Jo trained in ceramics at Central Saint Mar-

acters – inspired by worms, bugs, fungal

tins launching her hybrid practice combin-

mycelium and bacteria - dance out of her

ing animation with ceramics. Since then,

imagination. This magnified biome beneath

her stop motion films have won several

our feet, beguiles and whispers a plea for us

awards including the People’s Vote for the

to ‘Save Our Soil’.

Best Short Film at the 2023 International Ceramics Festival in Aberystwyth, and Best

Alongside the short film, ‘microscopic’ ce-

British Short at the Lion of Light Awards

ramic characters, some of which were creat-

2023. Her work has been shown in various

ed during the animation process, are shown

galleries and campaigning exhibitions in-

as zoological specimens. Drawing on an his-

cluding a solo show in the home of Charles

torical tradition of explorers’ specimen col-

Darwin and On Air, a group show about air

lections pinned into entomology cases, the

pollution which she co-curated at Ceramic

fauna displayed is strange. As though in sus-

Art London 2022.

pended animation, we have time to examine and wonder at unexpected shapes and

Her latest body of work, Unearthed, was first

textures.

exhibited in Berlin in Unfamiliar Ground, which she co-curated in October 2023. Its animated film will be screened at the World Soil Science Congress in Florence in May 2024 and Soil Dialogues an accompanying exhibition curated by EcoArtSpace. She has also been invited to mount Della Terra a solo show at BAart, a centre for Barbera wine and art in Piedmont, Italy in August 2024.

Unearthed – Mycelium Wall Panel Stained & white stoneware, plus slip trailing decoration, on board, 75 x 55 cm

Unearthed Biome Specimens - Black Vulcan black clay, wire, entomology display case, pins, h. 40 x w. 50 x d. 6.5 cm

Unearthed Biome Specimens - Terracotta Terracotta, wire, entomology display case, pins, h. 40 x w. 50 x d. 6.5 cm

Unearthed Stabile 2 Stained stoneware, brass & mild steel rods h. 51 cm

Unearthed Stabile 5 Stained stoneware, brass rod, wire, cherrywood base, h. 36 cm

Unearthed Stabile 3 Stained stoneware, brass & steel rods, wire, cedar wood base, h. 48 cm

Unearthed Stabile 6 White stoneware, copper coated mild steel wire, cedar wood base, h. 56 cm

Unearthed Stabile 4 Stained & white stoneware, nichrome wire, brass rod, wire, h. 34 cm

Unearthed Stabile 1 Stained & white stoneware, brass & mild steel rods, cherry wood base, h. 35 cm

For more information, images or to enquire about availability of any works represented in this catalogue, visit www.throwncontemporary.co.uk/alchemy or contact Gallery Director Claire Pearce via gallery@throwncontemporary.co.uk / +44 (0)7443 522689

Image on cover: Detail of ‘Indoors Gardens 04’ by Maria Ignacia Walker

THROWN throwncontemporary.co.uk/alchemy omvedgardens.com/craft