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 programme by specialist craft gallery Thrown and greenscape, food project, and sustainability hub OmVed Gardens.

‘Alchemy’ intertwines the transformative elements of craftsmanship and nature, an alchemical union of human creativity and the dynamic, rhythmic forces inherent in the natural world.

Set amongst the metal-gridded glasshouse and restorative gardens of OmVed Gardens, Highgate, the theme of ‘Alchemy’ is explored by bringing together works in ceramics, mixed media and print-making, mixed further with events in craft, music, food and nature. This mixed group exhibition puts a strong focus on process and the artist’s ability to transform material, harness natural reactions and express our own connections to the natural world.

The glittering reflections of Tim Copsey’s ceramics, described as like ‘space debris’, play on the metallic references of ‘Alchemy’ while their inspiration, the artist’s home in the Peak District, brings together two of the elements

from the alchemy of nature, earth and water. Metallic finishes also transform the sculptured clay of Diane Griffin’s work, one of her many skills in adapting this material, whose Ego Sum Terra ( I am Earth) series explores our spiritual relationship with the world around us. Furthermore, in the work of María Ignacia Walker, silver-plating is uniquely used on hand-sculpted ceramic works in a project to immortalise the native vegetation of the forests of her birthplace of southern Chile.

Strong connections to our home landscapes and the elements that make them also come through: in the porcelain work of Kim Colebrook, inspired by the geology and history of the South Wales Valley’, the abstract sculpture of Marek Pitera, built through blends of stoneware bodies and local London clay prospected from the vicinity of his studio; and the smoke-fired vessels of Victoria Meadows with changing surfaces created directly by the natural materials around her home in the Cotswolds.

Reactions in material, both natural and controlled, are further brought into focus by the cyanotype prints of Rosalind Hobley, embrac-

ing the blurs, the blurs, brushstrokes and translation of her botanical photographic images through this process. While the sculptural ceramics of Faith Mowbray also allow for collaboration with material, led by patterns formed by slip that transform by the artist’s hands into unfurling botanical forms.

This ability to give static objects life is centre stage in Jo Pearl’s ‘Unearthed’ series, a campaigning yet enchanting combination of clay stop-frame animation and ceramics which celebrate and investigate the hidden world of soil. The exhibition also debuts her brand new series of Kinetic ‘stabiles’, breathing life into these ceramic beings with microbes, worms and mycelium spinning and 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

Alchemy

parts of the images being lost. These pieces tell stories of seeing the world in sometimes mysterious and sometimes magical ways, hung to be approached from different distances and different angles throughout the exhibition to encourage another view.

The group is completed by the towering ceramic sculptures of Esther Palmer whose work is largely rooted in the interweaving narratives of landscape and deep time. Seeking to honour the natural rhythms of body, seasons and earth through the making of ceremonial landmarks, thoughts on connectedness within these sculptures echo the place within their exhibition as they stand both within the glasshouse and amongst the gardens at OmVed.

The Peak District Pennine landscape and its seasons are the backdrop to everything Tim Copsey makes. This is pottery on the border between function and sculpture; in essence vases, bowls, bottles and cups, although these are really just ‘Serving Suggestions’.

Works such as the Waterfall pieces are directly Inspired by observing and depicting how water races over and around rocks, glistening and reflective, as direct a reference to pouring as the onomatopoeic ‘tok tok’ of the tokkuri form.

Tim finds deep inspiration in Japanese forms and techniques, early experiments in camouflage such as dazzle, Prehistoric ceramic forms and Situationist art.

Tim Copsey

His work has been described as ‘beautifully uglyr like ‘space debris’ - he hopes that the work is playful, elemental if occasionally jarring or surprising and ultimately resonant of their materiality and the landscape from which they derive.

Tim works from his studio in the Peak District, alongside working with artists and creative organisations as a filmmaker. His work has been exhibited in solo and group exhibitions across the UK and featured in the publication ‘Contemporary British Studio Pottery, Forms of Expression’ by Ashley Thorpe (published by the Crowood Press (2023)). He recently completed an AA2A (Artists in Art Schools) residency at UCLan working with 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

“For me, clay serves as a catalyst for contemplation, remembrance and imagining. As we are living through what many would define as a geological epoch of our own making, the ‘Anthropocene,’ I feel it is crucial to envision and manifest alternative futures where humans can exist in symbiosis and harmony with the rest of the natural world. I use the potters wheel as a tool for metaphorical excavation, experimentation and healing, making animistic mineral forms embody growth and movement, both rooted in the past and aspiring to rise and evolve.”

“For this reason my work is largely rooted in the interweaving narratives of landscape and deep time. I see the land we walk on 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.”

Esther Palmer

“Inspired by the ghosts of the land, and the inherent mysteries and energies of the natural world, I try to make space for the ‘uncanny’ and the tenets of magic where the boundaries between the seen and unseen dissolve.”

“These recent works, ‘Terra Incanta,’ or ‘Earth Enchants,’ serve as a lyrical homage to the wild, untouched expanses of the earth, celebrating their resilience in the face of adversity presented by oppression, prevailing narratives of progress, patriarchal structures, and the grip of capitalism.”

Esther Palmer is a London-based ceramic artist who graduated with a MA in Ceramics & Glass from the Royal College of Art in 2023.

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

“My ceramic sculptures are inspired by our human experience, and how we connect with each other and the world around us through rituals and ceremonies. I first became interested in our use of rituals during a trip to the Wailing Wall in Jerusalem in 1985. I was fascinated to watch as people prayed and left messages as a way to feel a sense of connection to each other, their spiritual selves and a higher power.”

“Religions and cultures across the world have used the elements of the natural world in ceremonies and rituals for millennia and it is this connection that continues to inspire my work all these years later. We 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.”

Diane Griffin

Born and raised in London, Diane graduated with Ceramics B.A.Hons in 1988 and has worked in ceramics ever since. She has many years of teaching experience but committed full time to her artistic practice in 2015 and works from her studio in Northamptonshire. Diane has taken part in many shows and exhibitions both nationally and internationally, including exhibitions at London Art Fair and Collect International Art Fair.

Diane continues to develop her practice and her unique visual language in ceramics and has recently been awarded Selected Membership of CPA and is also now included as a Master Artisan in the Homofaber Guide.

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

Earth

Elemental Bond

Stoneware & earthenware, glazes, platinum lustre, h. 17 x w. 17 x d. 11 cm

Sacred

Porcelain & earthenware, glazes, gold lustre, h. 14 x w. 17 x d. 11.5 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

Porcelain & earthenware, glazes, gold lustre, h. 46 x w. 12 x d. 11.5 cm

Earthen Echoes

Porcelain & earthenware, slips, glazes & gold lustre, 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

“Alchemy - a seemingly magical process of transformation, creation, or combination. I see Alchemy in the geology of south Wales; the way that the power of the earth changed decaying trees and plants into coal and iron, and then how the force of the moving plates moved, cracked, and concertinaed the solid layers of rock into the geological strata that makes up the South Wales Coalfield.”

“The communities of the South Wales Coalfield are connected by the hidden geology. The layers of coal, ironstone and clay which fuelled the industrial revolution show the power of nature which has distorted and split the strata. I use the layers, the geological pressures, as well as the voids created by extraction within my work as a metaphor for the way that history and memories are buried and distorted with time and distance.”

Kim Colebrook

“Working with porcelain allows me to explore the hidden. Geological layers are built within blocks of clay, in a loose Nerikomi fashion. By slicing sections and rolling I aim to integrate the translucence of porcelain into my work, creating simple forms that allow people to see the layers hidden within the walls.”

Following a career working in Heritage and Tourism in Wales, Kim Colebrook was a late comer to her ceramic practice following joining a portfolio course at Hereford College of Arts. She went on to study Contemporary Design Crafts BA, again at Hereford before studying Ceramics MA at Cardiff Met University. Upon graduating, she was awarded a Graduate Workshop at the Fireworks Clay Studios in Cardiff for a year, before setting up her studio in Abergavenny just before Covid lockdown.

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

Porcelain, black onyx porcelain, iron spangles & black perspex, 40 x 9 x 8 cm

Bottom: 9 Small Cubes on Perspex Plinth

Porcelain, black onyx porcelain, iron spangles & 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

Rocking Geological Rocking Bowl & Pebble

Porcelain, black onyx porcelain, red iron oxide and iron spangles, 40 x 9 x 8 cm 12 x 13 x 9 cm

Geological Rocking Bowl on Gilded Porcelain Cube

Porcelain, black onyx porcelain, iron spangles, iron oxide & black perspex with gold leaf, 9 x 8 x 8 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

Underpinning Alice McCabe’s work is a love of misunderstanding and humour, gleaned from a keen interest in Dada. An optimistic nihilist her work is designed to help the viewer reconstrue – and find space for – colourful protest within everyday life.

The addition of the collaged hand cut milk bottle tops allow for another layer of meaning or reflection within the work both via content of cut out imagery or everyday use or qualities of the materials themselves. She began collecting milk bottle tops when living in Zurich both purchasing them and collecting them by drinking the coffee creams. They are designed in series and often presented as a collection within themselves: e.g tropical fish, cigar wrappers, the Swiss ski team! Hand cutting her own series, the shape of the milk bottle top does not tessellate 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.

Alice McCabe

Alice is a mixed media artist creating floral installations, paintings and performances often with foraged and found materials of an ephemeral nature. Alice studied Fine Art Painting BA at the University of Brighton (2008) before completing her MA in Critical Arts Education and Curation at ZHdK (2014.) In 2016 she set up Alice McCabe Flowers followed by Metafleur in 2020 focussing on large-scale sustainably designed installations. From 2022 - 2023 she studied on the Turps Studio Programme, bringing painting once again to the fore in her practice.

Significant exhibitions include Five by Five, a group exhibition at Incubator Gallery (Jan 24) that featured pairs of established and emerging artists, including her partner Georgie Hopton, as well as Mona Hatoum, Maggie Hambling and others.

“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, h. 37.5 cm

Stonewares including foraged London clay, h. 37.5 cm

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

“What would a forest immortalized in metal look like? These gardens renew the concept of ecology by immortalizing the native vegetation of the forests of southern Chile. They contrast the vegetal contemplation and southern melancholy with the hardness and metallic shine, offering a hypnotic, elegant and alive work.”

Maria Ignacia Walker was trained as a jeweller and her interest for the human body is expressed through different artistic disciplines. She approaches art by working with metal, experimenting with material, using her craftsmanship to make jewellery, body pieces, objects and installations.

Maria Ignacia Walker

She graduated in 2007 at the Universidad del Desarrollo, Chile in Art Direction. In 2015 she completed her studies in Florence obtaining a MFA in Jewellery and Body Ornaments at Alchimia Jewellery School, supported by a scholarship from the Chilean Ministry of Culture (Fondart).

In 2018 she was invited to Khio, Oslo National Academy of Art, to take part in a special artist in residence program in the metal department. In the last years Maria has been travelling to America, Asia and Europe giving lectures and workshops. She is currently based in Florence where she teaches at 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

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

Indoors Gardens #14

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

Indoors Gardens #04

Ceramic, copper, silver plated, base in sterling silver, 36 x 8 x 8 cm

Indoors Gardens #17

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

Indoors Gardens #07

Ceramic, copper, silver plated, 13 x 12 x 19 cm

“I’m led by the material qualities of clay, starting with the patterns which form on the surface of my slip bucket. I’ve tried to find new ways to capture qualities of clay in its different states from liquid slip to dried out rubble. Those experiments are always the starting point for the things I make.”

“For this exhibition, I experimented with processes that make the fired objects feel alive. Piping and twisting clay makes it writhe of its own accord and when you pinch it, it curls. In the high temperatures of the kiln, stalks wriggle further and petals and leaves slightly unfurl.”

Faith Mowbray

“I’m always looking at 18th century porcelain and its qualities of lightness, frivolity, novelty and a thrill in technical innovation. I thought about that decorative tradition of idealized flowers which are almost fairytale-like and spring wildly from flat planes into three dimensions. The people who made them were experts in the way the human eye finds visual comfort in rhythm and pattern, then relishes its disruption.”

Having always drawn and made things, Faith Mowbray started working in ceramics via membership studios. In 2021 she finished 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

Sprigged

Piped &

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 is a London based artist working with an early photographic process called Cyanotype. To make these prints she coats heavyweight cotton rag paper with a solution containing iron salts, and exposes them to UV light under a large format negative. The resulting prints are a characteristic Prussian (Cyan) blue colour.

Rosalind’s father and grandfather were seed merchants, and she learned gardening from an early age. She currently has a small 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.)

Rosalind Hobley

Rosalind received a BA Hons in Fine Art Sculpture from Maidstone College of Art and went on to be the recipient of the Create Church St Grant; LCN Scholarship; awarded first place in the Alternative Processes Series of the 16th Julia Margaret Cameron Award, and an Honourable Mention in the Portrait Series. Her work has featured in many publications, as well as the RA Summer Exhibitions and juried shows at the Turner Contemporary and Hastings Contemporary Galleries and others.

Poppy III

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

Cyanotype on Arches Cotton Rag Paper edition of 6 & 2 A/Ps

61 x 61 cm unframed

Poppy I

61 x 61 cm unframed

Poppy II

Cyanotype on Arches Cotton Rag Paper edition of 6 & 2 A/Ps

Cyanotype on Arches Cotton Rag Paper, edition of 12 & 2 A/Ps

38 x 31 cm unframed:

Parrot Tulips I

Garden Rose IV

All

Hyacinths I

Ranunculus II

Tulips III

Based in the Cotswolds, Victoria Meadows was first introduced to clay whilst studying Art and Design at foundation level in Cheltenham. She went on to graduate with a degree in Ceramics in 1996 from The University of Wales Institute, Cardiff. Having worked as a teacher of ceramics, Victoria is now devoted to her career as a ceramic artist.

Living in a rural location, Victoria has united her passion for plants with her lifelong fascination of historical pottery, considering her work to be a collaboration of nature and craft.

Victoria Meadows

Using hand building techniques, she constructs her vessels by coiling and pinching the clay to build the forms. This is a carefully considered process, allowing the clay to retain enough of its natural character, the making process visible on the finished surface, indentations, finger prints, rips and tears. The clay has a memory and it keeps these marks as a record of its creation.

Plant life is wrapped around the vessels and saggar fired in a primitive kiln firing fuelled with wood. The foraged wood and organic 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

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

Ancient Moon

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

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

Silken

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

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

Spirit

Unearthed is a campaigning yet enchanting combination of clay stop-frame animation and ceramics to magically create an illusion of life celebrating healthy soil teeming with amazing biodiversity. There is an aptness to using clay to investigate the hidden world of soil. Playing with scale, Jo Pearl makes the invisible visible as we zoom downwards, discovering ever smaller beings. Balletic characters – inspired by worms, bugs, fungal mycelium and bacteria - dance out of her imagination. This magnified biome beneath our feet, beguiles and whispers a plea for us to ‘Save Our Soil’.

Alongside the short film, ‘microscopic’ ceramic characters, some of which were created during the animation process, are shown as zoological specimens. Drawing on an historical tradition of explorers’ specimen collections pinned into entomology cases, the fauna displayed is strange. As though in suspended animation, we have time to examine and wonder at unexpected shapes and textures.

Jo Pearl

Kinetic ‘stabiles’ also breathe life into these ceramic beings with microbes, worms and mycelium spinning and swinging in space. Each teeters on delicately balanced brass and mild steel rods, expressing the precariousness of the fragile equilibrium in our soil’s biome.

Jo trained in ceramics at Central Saint Martins launching her hybrid practice combining animation with ceramics. Since then, her stop motion films have won several awards including the People’s Vote for the Best Short Film at the 2023 International Ceramics Festival in Aberystwyth, and Best British Short at the Lion of Light Awards 2023. Her work has been shown in various galleries and campaigning exhibitions including a solo show in the home of Charles Darwin and On Air, a group show about air pollution which she co-curated at Ceramic Art London 2022.

Her latest body of work, Unearthed, was first 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

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