Trace

AliceMcCabe-Metafleur

SamAndrew

EmiFujisawa

JohnMackenzie

JosephineMarchandise

SophieThomas

LouisThompson

AntjeLang

AnnaSimson

KiranLee

VivienneSchadinsky

VickyChown

TRACE

SarahWalton

HeatherGibson

PipHall

MaruJota

RogerColl

MegRodger

MichelleCadeMindLikeWater Unit89

SolPolo

TimMartin

WillHearle

Createdfor Trace,acollaborativeexhibitionby OmVedGardens,ThrownandMetafleur fortheChelseaFringe2023

Featuringacollectionofinstallationimagesof theexhibitionitself.Allinstallationviewsby photographerWillHearleforOmVedGardens

Itfeelsfittingthatfor‘Trace’,ourfifth collaborativeexhibitionwithOmVedGardens’ andourfourthasatriowithMetafleur,wehave createdforthiscollaborationitsfirstcatalogue. Afterthedateshavepassedandmany beautifullycreatedwebsiteshavedisappeared withtheirfleetingdomains,theseexhibitions canoftenfeellikeadream-perhapsaptfora locationfromwhichyouemergefroman assuminglaneontoHighgateHighStreetand wonderhowyoucouldpossiblybebackinNorth London.

Thiscatalogueisarecordoftheartwork involved,somecreatedespeciallyforthesiteof OmVedGardens,someinspiredbythe exhibitiontitletodiveintoasideoftheirwork, allheldtogetherinthesepages.Thiscatalogue alsoservesasarecordofthemanydifferent skills,ideasandknowledgeoftheevent programme,curatedbySolPoloofOmVed Gardens,addingfurthertothisopenly resonatingthemeofTrace.

Foreachofoureventcontributorsandartists, wehaveaskedquestionsaboutbeginnings, changesandhighlightstolearnmoreabout whathadledthemtotodayaswellasquestions forusalltogainalittlefromtheirimpressive massofexpertise.Foreachandeveryone,we havestartedwiththesamequestion-canyou describeausualdayinyourpractice?Ilovethe lifethatthisbringstothisstaticcatalogue,the thoughtofwhat,asyou’rereadingthis,eachof thepeoplethiscataloguecelebratesmightbe doingrightnow.Theenergythathasbeen broughttogetherforthesetwoandahalfweeks inMayatOmVedGardensandthendisperses, withtheadditionalforcethatthisexhibitionwill hopefullybring.

Mydaysgenerallystartslowly,settingupmy laptopforthedayat10am-oneofmany reasonswhygalleryworkhasalwaysfeltlikeit wasrightforme.Emailsarealwaysthefirstport ofcallandacheck-inwiththespinningworlds aroundmeofartists,makers,collectors, designers,stylistswhomighthaveanewupdate orenquirythatwillsuddenlychangethecourse oftheday.

TRACE

Ausualdaywilllikelybecomputer-basedand havebeendecidedbytheendoftheyear before,finalisingaprogrammeofexhibitions andeventswhichsetaintensifyingamountof tasksasthedatesdrawcloser-allinthesame patternofdeadlinesbuteachonecompletely differentinthewayeachartistworks,the artworkitself,thevenues(whetherphysicalor thinkingabouthowtopresentsomething digitally)andthepeople(collectors,designers, visitorsetc)Igettomeetorspeaktoalongthe way.Iliketobreakupmydaywithpackingup anysoldworkintheafternoon,instantlyslowing thingsdownwithataskthatjustcan’tbe rushed.

Ihaverealisedthatdespiteworkingwithobjects, myworkisverymuchabouthumanconnection. Igettobepartofanartist’sjourney,trustedwith theworktheyhaveputsomuchinto,andpartof acollector’stoo,whetherit’sthefirstorone hundredthpurchase,thesometimes unexplainable,sometimesheavilydiscussed reasonofwhyart,initsmanyforms,speaksto you.

ThispartofwhatIdoisamplifiedinthese collaborations,anechoofaunifyingthemebut saidinmanydifferentvoicesinmanydifferent ways.Inthesamewaythatartistscanallpickup thesamebrush,toolorwedgeofclayandyet createsomethingcompletelydifferent,being abletoworkwithOmVedGardensand Metafleurwiththestartingpointofawordthat makesallofoureyeslightup,theindividual forcesthathavecometogetherforthis exhibitionareallsaying‘letmeshowyouwhat thismeanstome’.

Ofcoursewiththis,thesemessagesinterweave withthesynergythatbringsusalltogether.Soin thiscataloguewehavetriedtoorderthe collectionsandstoriesinawaythatdraws connectionsbetweenthemanywaysofthinking, aninvisiblethreadtofollowalongtheway.

Nextpage: OmVedGardensbyWillHearle

ClairePearce GalleryDirector,Thrown

FortheexhibitionTrace,Metafleurwillbe activelyconnectingandreflectingwhatis outsidewithwhatisinside.Thisconnection functionsbothasdirectseasonallink,bringing outsidematerialsinsidebutalsoasflower arrangingdrawsuponinternalreflection wherebyfeelingsandintuitionareexplored via thephysicality ofarranging.

Workingsolelywithmaterialsgatheredfrom OmVedseemsanappropriateandholisticway ofworkingforthiscollaborationrespondingto theexhibitioncuration,artists’worldsandworks furtherbindingexhibitionandsite.

AtOmVed,thegardensarethebasisfora creativeexplorationthatblossomsbeyond them:inthekitchen,inthestudio,intheloom, inpaper,infilm,inclay,inajarorinourplate. Tracingtheconnectionsbetweentheseblooms, realandmetaphorical,andcreativityinabroad sense,hasbroughtustoputtogetheravaried programmetoaccompany Trace,andalso honourthespiritoftheChelseaFringe: encouraginglinksbetweengardensandart, literature,music,cookery,history,crafts,and ecology.

THROWN

Themarkoftheartistandcraftsmanwillforever putusinawe.Thepowerfulforceofthebrush andtooltotranslatetheworldarounduscan breakdownwallsoflanguage,cultureandeven time.

Inourthinkingabout Trace,thevisuallanguage ofartisatcentrestage.Thefeaturedcollections havebeenselectedtorepresenttherangeof meaningsdrawnfromthissingleword,fromthe trailofanexpressivelinetothejourneyofa materialtothewayweexploreourabilitiesto influenceandimpact,particularlyinthiscase relatingtothenaturalworld-theunitingtheme thatkeepsdrawingusthreeascollaborators backtogether.

Metafleurisasustainablefloralartanddesign studiofoundedbyAliceMcCabeandbasedin London,creatinglarge-scalefloralinstallations andlivinglandscapesforeventsandfilms, alongsidedriedfloralartforexhibitions.

Inconnectiontothethemeoftheexhibitionand inlinewithhersustainablepractice,Alicewill worksolelywithmaterialsfromtheOmVedsite andworkdeliberatelytoextendtracksand tracespalpablethroughthegardenandintothe space.

Alicewillalsoleadacreativeworkshopaspartof theexhibition’s‘SlowSundays’events.

Canyoutalkusthroughausualdayinyour studio?

Mydaysvary.IfIhaveflowersworkon,Iwillbe upbetween5-6amandheadedtoNewCovent GardenMarketortoanurserytoselectcut flowersandplants.Iwilllikelybewithadriver andfellowflorist,pickingupandscrutinising materialsandseeingifthereisanything irresistible,whichwillthenbeaddedtothe order.Forrecentwork,Ihavebeenforagingwith permissionfromcommunitygardeninggroups; diggingupplantsthatarenotcommercially available(akaweeding!)Thishasbroughtseveral unexpectedchallenges,includinghowbestto safelypackaLutonvanwithstingingnettles, dandelionsandbramblesforfellowfloriststo unpack.

Dependentonthejobwewillworkinthestudio mostofthedayuntilabout6pmorinstallonsite respondingtotheeventenvironment.

Whendidyoustartworkingwithflowers?

ThefirstjobIhadwasworkinginaflowershop –MrButtercups–inPutneywhenIwas18,now twentyyearsago.Iworkedtherepart-time whilstdoingmyfoundationcourseatChelsea CollegeofArtandDesignandmyloveof flowers,movingcolouraroundandworkingina physicalwaybegan.

AttheheartofMetafleurissustainability, whatchallengesdoesthisbring?

IstartedMetafleuronwitnessingwastefrom large-scalefloristryevents.Thechallengesare makingsuredisplaysarenotusedasatoolfor greenwashingpracticesofsomebusinessesand thatsustainablemethodsofcreationoflargescaledisplayswithbothshortandlongterm planningformaterialusagearecommittedto, evenifthisincreasescosts,labourandexpertise required.Thisrequirescommitment,trustand flexibilityofvisiononbehalfoftheclienttoo.

Eachjobisaninvitationtokeeplearningand findingnewwaysofcreatingimpactfuldisplays moreharmoniouslyalignedwithnature.

Withyourworkrangingfromsmallsingle arrangementstolargescaleinstallations,how muchdoesyourprocessandthinkingchange betweendifferentscalesofwork?

Iliketoworkcloselywiththeclientregardlessof scaleandenjoydivingintoallthedetails.

Forlarge-scaleinstallationsmostofmytimewill bespentworkingonlogistics,budgetsand afterlifeofwork.Thereismoreflexibilitybuilt intothesmallerdesigns,andIwilllikelycreate theflowersmyself.Forlargerdesigns,Ihavethe helpofanincrediblefloralteamoffreelancers withvariedbackgroundsandskillsacrossartand horticulture.Ajoyformeishowevermuchyou plantheprojectthematerialswillalwayssurprise you.

Asanartistyourself,howdoesyourartistic practiceandfloraldesignoverlaporcontrast?

Myfloraldesignandartisticpracticeoverlapin thatIusethesameskillsforboth–consideration ofbalance,colour,intuitionandspontaneity alongsideplanningandcontrolofmaterials.I havelearntfrommaterialstogowithwhatthey aredoingratherthantrytoforcethemandfeel Iadheretothismoreinfloristry,whenastemwill justnotbudge,ratherwithpaintingwhereIcan haveahunchbutkeepworkingoverandover. Deadlinesanddelicacyofmaterialscertainly helpstoadheretointuitiontoo!

Myfloristryworkisdrivenbyrequestsmostly, andIenjoythetimeforexperimentationat Omvedandwithinmystudioworkcreating hangingfloralmesheswithdriedandforaged flowersattheoverlapofmypaintingpractice.

NowourfourthcollaborationfortheChelsea Fringe,canyouseechangesinyourpractice fromthefirstin2020?

Thisexhibitionhasalwaysbeenanopportunity tocreatedisplaysinharmonywithexhibition content,celebratingtheuseofre-purposed, foragedanddriednaturalmaterialsthatmight beimperfect.

ThisyearIamexcitedtoworksolelywith materialsfromOmVedandfeelthisbringsthe collaborationfullcircle;enablestrulysustainable designs,workingwithselectedmaterialsthat physicallyactasatracebetweenglasshouse exhibitionandgardens.Thebestpartistheycan allgobackoutintothegarden,intothebeds andtobecompostedafterwards.

Eachstriationoriginatesfromhundredsofslabs meticulouslylayered.Withthousandsoflifts, patsandslapsthelayerscompress.Asliceis takenfromtheselayeredloaves,whicharethen pressedintolinedtableware.Atechnique knownasNerikomi.Thewasteoftheprocess hasbeencollectedoveryearsofproductionand nowformsintoSam'smostprominentpieces. Thetanandbrownclaysarethehomogenous blendofblackandwhitewaste.Off-cutsfrom variousbatcheshavebeeninlaidandintricately joinedtogethertocreatebelliedformsfrom waste.

SamAndrewisaManchester-basedceramicist whoseworkisinfluencedbyhisbackgroundin ClinicalNeuropsychologyandtimelivinginthe Netherlands,HungaryandTokyo.Hewastaught byhismother,whohasnowbeenpottingfor over50years,sinceayoungage.Asastarting pointSam'sinterestinpsychologyhas preoccupiedhimwiththevisualeffectofdepth incontrastingcolouredlines,andwhatitteaches aboutthewayinwhichweperceive,withcircular materialreuse,andexcessivepatterning,being centraltothisexpression.

Canyoutalkusthroughausualdayinyour studio?

EachdayIcycletothestudio,there'susually someclayrecyclingandkilnfillingand unloading.Howeverthere'snootherusual activity,astasksdifferfromdaytoday.For exampleifalargeorderhascomeinI'llspenda daylayeringandblockingclayinpreparationfor makingbowlsandplates.AfewdayslaterI'll beginslicingandpressingtheplatesandbowls, andthefollowingdayshoningthesurface.It's quitephysicalandrepetitiveforthedays,but maynotberepeatedforanother1or2months. Mymakingprocessfromstartingwithlayering claytofinishingwithabowlorsculpturalpot takesatleast5weeks.

Whendidyoufirstbeginworkingwithclay?

Ican'trememberIwassoyoung,mymum taughtme.Shestudiedceramicsfor5yearsin London,withnotabletutorsEmmanuelCooper andMoJupp.Iremembermakingamudhut withastrawroofandaworkingocarinafor differentschoolprojects,aswellasmakinga monster,afantasyhouseandabeetleinclasses withmymumandmyschoolmates.Ithrewaset ofplatesformyselftotaketoUniversity.

SamAndrew

What’sbeenthebiggestpivotalmomentin yourpracticesofar?

Thingshavebeenquitegradualcomparedtothe beginningofmypractice,whereIchanged careerfromNeuropsychologyresearchto potter,andhadbeenlivingintheNetherlands andTokyoamongotherplacesintheyearsprior.

Whendidyoufirstdiscovernerikomi?Whatis itthatdrawsyoutothistechnique?

Ihaveaninterestinlines,Iusedtodoodleline patternsonworksheetsatschoolatevery opportunity(andstilldo).Ibeganpainting meticulouslinesonpotsonthewheel,and experimentedfurtherinanefforttouseup differentrecycledclaysandablueclayinthe studio.Itriedmanythings,suchasthrowingwith theclaytogether(neriage),marblingthemand pinchingorslabbing,andalsolayeringtheclay. Icreatedasetofpress-mouldedbowlsoutof thisexperimentationwhichisnowthe foundationofmywork.

Iliketheopticaleffectlinesgiveandwhatit teachesusabouthowourperceptionworks. Theyalsoenableyoutotracethemovementof theclaythroughouttheprocess,sowithsome study,theviewerisabletodeducethe behaviourofclayandhowtheclayhasbejoined andreusedtocreatefurtherpieces.

Doyouplaneachpieceinadvanceordothey developintuitively?

Iusedtowanttoworkintuitively,ultimatelyit canbelesseffort,andalthoughtherehasbeen somesuccess,I'velearntthatthisresultsinmore failuresthanI'dlike.

Iremembermymothershowingmeherpieces ofshrapnel.Ididn'tappreciatethesignificance ofthemuntilI'daccumulatedallsortsoftilesof myown,thatnowlayaroundmystudioand home,thousandsofthem.

Throughprogressiveexperimentationonasmall scale,I'veaccumulatedknowledgeofcolour, patternarrangements,andformsthatwork togetherbetter.I'vealsousedproductionto developoff-cutarrangements,includingmaking off-cutplatesforTateModern,andoff-cupsfor HatoStore.Theseinformmyplansforfuture work,butit'salwaysagoodideatohavean openmindwhenopeningthekiln.

Howdoesscalechangeyourprocessor thinkingaboutyourwork?

Scaleistechnicallychallengingwithmy techniques.Themorejoinsincreasethechance ofcracking,andmypieceshavehundredsifnot sometimesthousandsofjoins,whichincrease withscale.Therecycledclayscantendtobloat more,andsometimesthedifferentclaysdon'tfit welltogether.

WithmysmallerpiecesIliketouseasingleslab ofclay,whichbendsrightroundintoaplate, bowlorenclosingallthewayintosmallholeat thetopforasculpturalpiece.However,thisisn't currentlypossiblewithlargerpieces.Iinstead usedifferentandoftencombinedtechniqueson thesamepieceincludingthrowing,slabbing, press-moulding,pinchingandcoiling.

NerikomiBowl,Pink&Grey, Stoneware,8x13cm

Preparingclayinthestudio.Photobytheartist

PinchedNerikomiDebrisPot, Stoneware,10x12 cm

NerikomiBowl,Red,Brown&Pink, Stoneware, 9x33cm

Above:

RecycledTanClayVase withPinkandMonochromeInlay Stoneware,20.5x13.5cm

Rightimagefromlefttoright: NerikomiCornersPot, Stoneware,13x17cm

BrownRecycledClayPot,PistachioandBlueInlay Stoneware,17x15cm

NerikomiDebrisPotwithRed,Brown,Pinkand GreyInlays, Stoneware,15x15cm

Images©EmiFujisawa

EmiFujisawaisthetextileartistanddesigner basedinEngland.Herphilosophyisbasedon theproverbfromConfuciusthatsays“Wecan learnnewthingsfromthepast”.Strongly inspiredbytime-honouredtextiles,shehas developeduniquepalettesviaherexpertisein naturaldyeingwithakeyfocusonusingnatural, sustainableandethicalmaterials.

ForTrace,Emiwillhostaworkshopteaching howtostitchabotanicallyinspiredmotifona teatowelofvintagecloth,withyarnhanddyed withindigobyEmi.

Canyoutalkusthroughausualdayinyour studio?

TodayIhaveworkedontwoprojects;dyeinga fabricfrommyclientwithIndigo,andsetting upmyloomforanewIndigoweave—fora comingexhibitionattheJapaneseEmbassy.I alwayshavemyfluffyassistantMiyakowithmein mystudio(mybeautifulcat).Imadeanew Indigovatinthemorning,andthenIwarpedmy loomwhiletheIndigovatwasgettingready.My clientwouldlikeamediumshadeofIndigoblue, soIfirstdyedthefabric,andthenIhungitinthe gardentodry—thenIwentbacktocontinue settingtheloomup,andthenbackagainto continuetodyethefabric,severaltimes.Bythe afternoonIwasdonewarpingmyloom.Ithen spenttimegardening,whilethefabriccontinued todryoutinmygarden.Iamgrowingboth IndigoandFlaxinaneighbouringgarden,which neededwateringbeforeIhadaneveningcourse tohold.

EmiFujisawa

Whendidyoustartworkingwithtextiles?

IcompletedmystudiesintextilesatChelsea CollegeofArtandDesignin2010.Itwas importanttometolearnhandweaving,since weavingistheprocesstomaketextilesand fabrics.DuringmytimeatChelseaIrealisedthat Ialwayslookedattextilesthroughthelensof fashion,whichwaswhatIstudiedinmyfirst degreeattheBunkaFashionCollegeinJapan. Mymotherusedtoteachsewingclasses,locally wherewelived,soIhavegrownupsurrounded bytextilesandthetechniques.

Whatfirstdrewyoutoexperimentwith naturaldyes?

Myparentsusedtogrowplantsintheirgarden, andmyextendedfamilyusedtobericeandtea farmers,soIhavealwaysbeenclosetonature.I thinkthereforeInaturallychoseworkingwiththe naturalmaterials(plants),ratherthanusing chemicalsorsyntheticMaterials.Myfirst experimentwithnaturaldyeswasafterIhad movedtoLondonformyUniversitystudies.In LondonIconnectedwithnatureinawayIhad lostwhilelivinginthebusier

Tokyo.Londonissomuchgreener,eveninthe mostcentralparts-andtheskysomuch wider!Istartedtocollectplantsonmywayback homefromUniversity,todyeyarnwith everynight.Iwasn’talwaysverysuccessful..,but itwasagreatexperiencethatbroughtme ontomyjourneyofnaturaldyeing.

Howhasyourcolourrangedevelopedwith yourexpertise?Aretherecertaincolours/ tonesyouhavebeensearchingforinyour dyes?

Iresearchednaturaldyesbasedonthe traditionalcolourpaletteinbothJapanand England,tothendevelopedmyowncolour palettethatfittedmyenvironment.Ithinkthatit isveryimportantfindingyourwaytomakeyour owncolourpalette.

Iwasstrugglingtomakegreencoloursusing naturaldyeastherearen’treallyanyplantsthat bringanicegreencolour.SoonedayIthought thatifIdyeayellowcolourfirst,andthendyea bluecolour—likeusingwatercolours—andit worked.Thisexperiencehasbroughtmeto makemanydifferentnewcolours.

IhadanotherinterestingexperiencewhenI visitedafriend’shouseonce—whereIsawa waterjugincopperthathadstartedtoturninto thattypicalturquoisegreen/bluecolourover time.Thisinspiredmetoresearchand experimentwithturningcopperthread,thatI wantedtouseinmyweaving,intothisturquoise blue/greencolour.FromthenonIhavenotonly usedplantstomakenaturaldyes,butalso mineralsandchalks.

FormanyyearsIdyedwithIndigo,usingpowder andplants,butsinceIknewthatJapanese SukumoIndigobringsamuchmorebeautiful colour,IdecidedIneededtolearnthis technique.LastyearItrainedinmaking JapaneseSukumoIndigowithmasterAisyu YanoinTokushima,inJapan.NowIam preparingtosetupmyownJapaneseSukumo IndigoStudio,hereinEngland.

Thefabricsusedforyourslowfashion collectionhavediverseorigins,fromyourown hand-weavingtosomefoundinantique/ vintagemarketsontextileresearchtrips. Whathasbeenyourmostimpactfulresearch tripsofar?

WhenIstilllivedinJapanIreadanarticleabout embroideryworkinRomaniaandHungary;each villagehastheirownembroiderystyle.Fromthen onIwasdreamingaboutvisitingthesevillages oneday.AfterImovedtoLondonIreceivedthe opportunitytolearnaboutthetraditionallifestyle andtextilesinRomaniaforamonth,inanartresidency.

Ilearnthowtextilesusedtobeveryimportantin Romaniainthepast.FriendsImadetheregave metheirheirloomtextiles,passedontothem fromtheirfamilies.Thesetextileshavesomuch meaningandvalues.Theyarestillmytreasure.

However,thevalueoftextileshasdecreasedover time;orpeoplehavetriedtokeepthetraditional skillsofmakingthesetextiles,butwithwrong directions-likeusingchemicallydyedyarnor syntheticyarns.Throughmyexperiencein RomaniaandHungary,Ibecameevenmore interestedinsupportingtheirtraditionaltextile traditions,tobepassedontothenext generations.

Iusetraditionaltextilesintheirimperfect conditions.Therearesomanytextilesthatwere nottakencareofverywell,andwhichIuseformy slowfashiongarments.Ihonourthevalueofthe traditionaltextiles,hand-wovenfabricsand antique/vintagefabricswhileIimaginethe historyandbackgroundofthesefabrics—and bringthemanewlifeaspartofmygarments.

JohnMackenziecompletedadegreeinceramics atHarrowUniversityin2001,wherehe developedapassionforwoodfiredceramics andkilnbuilding.Johnhassincebuiltanumber ofwoodfiredkilnsandhasbeenexploringthe uniquecolours,surfacesandeffectswhichcan beonlybeachievedwiththisprocess.

Johnhasrecentlybuiltanew140cubicfoot anagama(cave)kilnwhichisfiredwithoffcutsof woodfromlocalsawmills.Thekilnisfiredfor around50hoursandneedsconstantattentionto buildthetemperatetoabove1300degrees centigrade,wheretheashfromthewoodmelts toformaglaze.Heaimstoexploreand accentuatetheprotractedandextremefiring processbydevelopinghisownclays,glazesand slipswhichrespondtotheflame,ember,and ash.

Johnisfascinatedwithhowtheburningwood canimprintitsenergyontotheclayandlooksto varytheatmosphereofthekilntomaximisethe kilnspotential.Heincludeslocallyfoundgranite andfeldspartodevelopdeepsurfaceeffects, texture,andcolour.

BornandraisedinCornwall,Johnhasalways hadacloseaffinitytotheseaandrugged CornishcoastlineofWestPenwith.Hisworkisa directreflectionofthis,heaimstomake functionalvesselswhichcommunicatethe elementalprocessesthattheyhavebeen through.

Canyoutalkusthroughausualdayinyour studio?

Itendtouseadaytofocusonaspecificformor function.Thiscouldbemakingsimplecylinderas thestartofmugsoratypeofbowlwereI’m thinkingabouthowitmightfitinthehandorbe held.OrImayworkmorelooselymakinga singleformtryingnottoworrytoomuchabout theoutcome.OndaysliketheseItendtositat thewheelmostoftheday.Thatsaidwithwood firingtherearesomanydifferentelementswhich needtobeachievedtoensurethingsare successful.Choppingandstackingwood,mixing clay,cleaningthekiln,collectingshellsand grindingpotsthathavecomeoutofthekilnare alllabourintensiveandoftencantakedaysto getinorder.

Whatfirstdrewyoutoclay?

I’llneverforgetthefirstthingImadeinprimary school,andIrememberclaybeingsomething whichIwasabsorbedinandloved.Beyondthat Ihavealwaysbeenfascinatedbythephysical worldandhowitsfunctions.Fromstudying ceramicsatAlevel,Ibegantoreallyunderstand clayspotentialtobeformedandfired.

JohnMackenzie

What’sbeenthebiggestpivotalmomentin yourpracticesofar?

ThisyearIbecameaSelectedmemberofthe CraftPottersAssociation.Thismeansalottome andhasgivenmeaboostinconfidence.Aftera periodoftimeawayfromclayithasbeengreat togetbacktomaking,Ihavebeenevolvingmy workquicklywithlotsofexperimentationand hardworkandit’sgreattohavethisrecognised byanorganisationliketheCPA.

Whatareyouthinkingaboutwhenyoustart makingeachpiece?Doyoumakeinseries?

Itrynottothinktoomuch,mystudioisfullof picturesandthingsIhavefoundwhichmight informshapesornewdirectionformarksIwould liketomake.Ihavefoundthatthingshappen morefluidlyifIallowthesetositinthe backgroundasIbeginmakingforthenextfiring. WithlargerformsImaytakeasimple measurementfromasketchorphotothenmake aserieswhichexplorethesimpleratioofbellyto hight.Icanthenjustallowthesubtletiesofthese formtosinkintomeratherthantrytoemulate something.I’mveryawareofthepowerofthe subconscioussotrytosurroundmyselfwith thingIfindinterestingandinspirational.

1/2 3/4 5/6

Allhandblendedporcelainfromthe50hour Anagamafiring:

1. CharredVase,baseblackenedbyembers,h.18cm

2. EmberVase, emberflashingandashglazed effects,h.15.5cm

Whatisyourfavouritereactionthatyoucan createinthekiln?

Ireallyloveawoodfiredeffectwhichis sometimescalled‘emberflashing’.Thisiswhere therawclaysitsinveryhotembersandthe heavyandprolongedreductionatmospherethat thiscreatesimprintsitssurface.Thiscangivea varietyofcoloursfromblack,bluesandpurples throughtopeachandorangedependingon howthepotwasstakedintothekiln.Withwood firingIlovehowaestheticdecisionsneedtobe considerfrommixingtheclayrightthroughto howthepotisplacedinthekiln.Everyelement isimportantandwillinfluencethenext.

Howimportantarelocallyfoundmaterialsto yourwork?

Ihavedevelopedaporcelainclaybodywhichis designedtorespondtotheflameandembersof mykiln.AlocallydugChinaClaycalledGrolleg isthemainingredientofthisclay.TothisIhave beenaddinggroundlocalgraniteandfeldspar whichIcollectfromavarietyoflocationsaround WestPenwith.Iuseshellscollectedfromlocal beachesasanessentialwayofstackingwork intothekilntheyleaveanimprintonthefired clayandglaze.Ialsousealocalrivermudasone ofthefewwaysImakedecorativeglazemarks. Solocalresourcesareessentialtomywork,and Ilovethatdeepconnectiontothelandscape aroundme.

3. PeachBlossomVase, celadonandcopperoxide underglaze,h.15.5cm

4. PeachBlossomBottle, celadonglaze,copper oxideunderglazeandnaturalash,h.13cm

5. EmberBottle, firedburiedinembers,h.11cm

6. SodaVase, ashandsodaglaze,h.25cm

LargeJar StAgnesblendedStonewarewithhigh ironslip.Naturalflameandember flashingfromthe50hourAnagama firing,h.56cmxdia.50cm

KintsugiJar

StAgnesstonewarewithGrollegSlip,firedonitsside atthefrontofthekilnwithheavyemberandash glazedeffectsfrom50hourAnagamafiring,h.34cm

CeladonGlazedBottle

Handblendedporcelainwithceladonglaze,ashand embereffectsfromthe50hourAnagamafiring, h.27cm

LargePlatter

Handblendedporcelain.'Rawfired'withheavy ember,ashandsodaglazedeffectfromthe50hour Anagamafiring,31x33cm

CeladonGlazedJar

Handblendedporcelainwithceladonglaze,ashand embereffectsfromthe50hourAnagamafiring,h.26 cm

SodaBottle, Celadonglaze,firedonabedofshells, sodaandembereffects fromthe50hourAnagama firing,h.11cm

JosephineMarchandiseistheHeadofthe CreativeandNoWasteKitchenatOmved Gardens.Growingupinafarmingfamily, passionateaboutcooking,gardeningand regenerativefoodgrowing,Josephinehaslater rediscoveredpreservationandfermentation whiletryingtoslowdownandcommittoalow wastelifestyle.

ForTrace,Josephinewillfocusonthethemeof tracewithakitchenworkshopteachingthe basicsoffermenting,techniqueswhichallowsus toexpandthelifeofproduce,aswellascreating athreecourseplant-basedtastingmenuaspart ofher‘LeaveNoTrace’Dinner.

Canyoutalkusthroughausualdayinthe kitchen?

Everydayisverydifferentanddependsonthe seasonalityofthespaceandgardens.UsuallyI checkthefermentsfirstthingandtidyupthe kitchenbeforeIstartcookingforaneventor preservingwhateverisinthegardenandthe wildflowermeadow.Ifthere'sashortwindow withsomewildedible,flowers,orunusualveg/ fruitsItrytoexperimentandletmyimagination getinspiredbynature.

Whendidyourinterestincookingbegin?

It'salwaysbeenpartofmyDNA,althoughI didn'teverhaveahuramomentwhereItold myselfIwanttocookfulltime.It'salwaysbeen inme,likemostofusIthink.It'sasynergy betweenallformsoflife,itbringspeople,plant, planettogether.

Icomefromafarmingfamily,andspentsomeof myyouthhelpingmymumandgrandmas/pas gardening,cookingandpreservingfood.

Cookingisnotjustbeinginthekitchen,isbeing outside,foraging,gardening,beingpartofthe cycleandIguessIrediscovereditwhenImade aconsciousdecisiontoslowdown,healmybody andtheplanetafterworkinginapacedlife industrywhichwasn'tforme.

Whatwasthebiggestchangethatyouhave feltmostincommittingtoalowwaste lifestyle?

Reconnectingtofood,tocycles,tomybody,to myancestors,toourmotherearthandour currentfoodsystem.Iamcreatingtimeand spaceeverydaytobecreativeandimaginative withnature.

Isthereaparticularplant/produceatOmved thatyouaremostexcitedtoseecominginto thekitchenfromthegarden?

I'mgenuinelyexcitedbyallformsofplants,each seasonbringsnewjoy,newlife,newcycles.Give meanyplant,andI'llbeexhilarating!

Howdoesfermentationandpreservation changeyourapproachinthekitchen?

Withfermentationyouhavenochoicebutto slowdown.Bacteriaandnatureworktheirmagic attheirownpace.Ilovetheendlesswebof creativity:anexplorationanddiscoveryof ancientforgottenflavoursandnewoneswhich onlyrevealtheirsecretsatothosewhodedicate thetimerequired.There'salsoadeep interrelationshipbetweenplants,humansand thecommunityofbacteriathatareresponsible forthefermentationprocess(andultimatelyour health),andIthinkthisprocessisaprettygood metaphorforlifeonearth,itisneveradeadend, whateverbreaksdowngiveshopetonewforms.

SophieThomas& LouisThompsonMARCA

‘BrokenOcean’isacollaborativeprojectby designerandcreativecampaignerSophie Thomasandaward-winningglassartistLouis ThompsonMARCA.

Theplasticfragmentsusedinthisserieswere collectedbySophiein2014fromKamilobeach, Hawaii.Thisremotebeach(alsoknownbythe localsasTrashBeach)seestheresultsofthe globalplasticwastetragedywashupontoits shoreeverydayoneverytide.Theamountof plastic-to-sandratioisshocking.Everywhereyou lookplasticispresent,deepinthefabricofthe beachandseeminglyalmostimpossibleto extract.Everythingpickeduphadastory;a journeyfromJapanaftertheTsunamiorfromthe landfillsoftheUSA.Therearesnatchesofwords onbottlesbleachedbythesun.Someplastic hadbeenintheseaunderthehotUVsunso longitturnedtopowderwhentouched.

Usingthesefragmentsalongwithimagesof micro-plasticswirlingaroundtheoceangyresas inspirationthepaircreatedworkusingwaste glasstoillustratethischaosandintrusioninto thenaturalenvironment.Thecreationofeach vesselstartswithpickingaplasticoceanwaste fragmenttoinformtheshape.Thisisfollowedby aprocessofgatheringandaddingwasteglass, shapingandblowing.Someofthewasteshards areengravedandenamelledwithillustrationsof seas,netsandpackagingdetails.Thepieceis completedbytheadditionoftheoriginalplastic piece.

Called“beautiful,yethorrifying”byCraft magazinetheinitialBrokenOceaninstallation wasoriginallyshownatthe2019CollectOpen whereitwontheprestigiousCollectOpen award.

ShardVesselwithCarton Blownglasswithoceandebris

H.approx70cm

ShardVesselwithRope

Blownglasswithoceandebris,h75cm Photocredit:EsterSegarra

ShardVesselwithHook Blownglasswithoceandebris,h75cm Photocredit:EsterSegarra

SophieThomasanunusualmixofcreative campaigneranddesignagitator.Havingworked inthedesignsectorforover20years,Sophie wasDirectorofCircularEconomyandbefore that,Co-DirectorofDesignintheAction ResearchCentreattheRSAwhereshefounded andranTheGreatRecoveryprojectforfour years.Shehasbeenworkinginthefieldsof sustainabledesign,behaviourchangeand materialprocessthroughherdesignagency, Thomas.Matthewssinceitbegunin1997asa partnershipwithKristineMatthews.

Alongsidecollectingplasticdebrisfromthe edgesoftheseasshehasassistedglobal businessesandUKgovernmentorganisationsto definetheroleofdesignerswithindiscussions aroundwastestreams,resourceefficiencyand circulareconomies.Shedoesalotof campaigningworkandoverthelastdecadeshas foundedanumberofsocialenterpriseswith aimstoadvancethedesignindustry’scapacityto respondtoenvironmentalchallengesthrough knowledgesharingandinvestigation.

LouisThompsonhasbeenworkingwithglassfor over30years.Hisportfolioisdiverse,from creatinglargescaleinstallationstocreating smallerintimategroupsofobjectsthatinvite closerinspection.HecompletedhisMasters degreeattheRoyalCollegeofArtin2011and hasbeeninvitedtoworkandteachwithglass artistsbothintheUKandabroad.Louiswasthe recipientoftwoprestigiousawardsin2012,the JerwoodMakersPrizeCommissionandtheBest ExhibitPrizeattheBritishGlassBiennale.

Hisworkhasbeenexhibitedextensivelyat galleriesintheUK,Europe,JapanandtheUSA. Hehasbeeninvitedtocreateinstallationsfor variousmuseumsandinternationalexhibitions andhisworkisheldinmuseumcollectionsin Belgium,Germany,Japan,USAandmost recentlytheVictoriaandAlbertMuseumin London.Louishascompletedaresidenciesat theprestigiousMuseumofGlassinTacoma, USA,GlazenhuisMuseuminBelgiumandatthe SonevaArtGlassintheMaldives.

ShardVesselwithFitting Blownglasswithoceandebris,h50cm Photocredit:EsterSegarra

TheSevenStagesofDegradation

Blownglasswithoceandebris

H.32cmxw.80cmxd.11cm

Antje/on-tee—yuh/Langisamoonlightmusicianandoccasionalwordsmithdaylighting asasustainabilitypractitioner.Shefocuseson groovytunesforfeelingsandsystemschange forclimatejustice.

ForTrace,Antjewillbeperformingaspartofa speciallateopening.

Canyoutalkusthroughausualdayasa sustainabilitypractitioner&emerging musician?

Iworkfull-timeinESG(environmental,social, governance)inthebuiltenvironment.*Right nowthatmeansmyheadisveryinESGdata modeasweworktoaggregateallourrelevant datafortheyearanddiscloseit.Butgenerally, myworkfocusesonhowweintegrateESGinto ouroperations,keepinguptospeedonindustry bestpractice,andreallyfocusingon decarbonisation.Thatmeansalotoftalkingto andcollaboratingwithpeopleinside/outsidemy organisationtosetandmeetESGobjectives. ButI'malsointerestedinalotofthings,somy daygenerallyinvolvesreadingbreaksonmy otherinterestslikeanti-monopolylawintheUS andcivicpurpose.

Musicseepsintotheedgesofmyday.Oneofmy favouritethingsiswhenI'mbikingto/from somewhereandasonglyricoramelodypops intomyhead.Myvoicememosarefulloflittle snippetshereandthere.Rightnow,I'mreleasing myfirstfull-lengthalbum,andsomymusical headspaceisreallyfocusedonthesesongsand thatpractice,butI'verecentlytakenupbanjo andI'mlookingforwardtoexploringwhat musicianshipmeanstomeasItiethebowon thesefirsttwelvesongssotospeak.

*ESGencompassesasetofstandardsthatmeasurean organisation’simpactonsocietythroughtheE,S,andG pillars.ESGbenchmarksorganisationalperformanceand, similartofinancialaccounting,providesclaritytoinvestors, customers,andotherstakeholders.

Images: AntjeLangbyLindseyKusterman

Whatisyourearliestmusicmemory?

Mydaddrivingmetopre-schoolandlisteningto BuffaloSoldierbyBobMarley,butmyfirst concertmemorywasgoingtoBritneySpears withmysisterwhenIwasfourorfiveandcrying becauseIfoundthewholethingsoloudand overwhelming.Ohthelate90s!

Wheredoyoutakeinspirationforyourmusic andlyrics?

Historically,asentenceorathoughtjustkindof appearsinmyheadanditthenbecomesasong. I'mworkingtobemoreactiveinmysongwriting though,whereI'llgivemyselfaprompt(a picture,apoem,asentencefromapodcast)and seewhatcomesout.Mostly,though,thesongsI feelmostconnectedtoaretheoneswhereI'm tryingtoworkthroughaquestionorasituation (evenIwasn'tawareofitwhenIfirstwrotethe song).Alotofthenewsongsonthisrecord followedonmydad'sdeath,andgrapplingwith alotofexistentialdreadthatitbroughtupin me.

Howdoesyourpassionformusicrelateor interactwithyourpassionforsystemschange andclimatejustice?

Musicneverfailstomakemefeelsomething,to feelconnected.Ithinkwe'reallreallyjustlooking forwaystobeconnected.Ithinkour disconnectionwithourselves,eachother,and theearthbreedsorcompoundsalotofthe problemswe'vecreatedforourselves.IguessI basicallydon'tthinkit'sashardaswethinktobe nice,compassionate,andself-awarepeople. Writingandperformingsongsismywayto connecttothatfeeling,butalsohopefully provideotherswithasomethingtoconsider.

Whatisthestorybehind"NotestoaDoctor" andhowdoestheartworkrelatetoit?

FunnyenoughthestorywasthatIsaidthealbum titleinaregularsentencemanyyearsagoand myfriendwhowaswithmeatthetimesaid'that wouldbeagreatalbumtitle'andIagreed!My dadwasalsoadoctor,though,soeventhough thealbumtitlecametomebeforehedied,it feelslikeanot-so-strangecoincidencethatthe albumreallyisfullofnotestohim.Theartwork wasdonebymyphotographerfriendLindsey KustermanoutinLA.IjustreallylikeLindsey's workandweworkedtostrikethebalance betweensolemnandfun.

AnnaSimsoncametoceramicsthroughparttimeclassesandworkshopsover20yearsago, formalisingherpassionwithaMastersfromBath SpaUniversityin2018.Herloveofnaturecomes fromherchildhoodinAfricaandthe Mediterraneanandherextensivetravelsinlater life.Shehasastudionestledintheheartofthe creativeStroudValleyswheresheliveswithher husband,daughteranddogs.

Annamakesbothfunctionalandsculptural ceramicsinstonewareandporcelainclaysusing avarietyoftechniquesincludingthrowing,hand buildingandpitfiring.Gettinghandsdirtyinthe earthandadeeprelationshipwithclay;its malleabilityandthevisiblemarksareimportant tothetexturesandimprintsshemakes.Anna’s interpretationsofGaia’sfloraandfaunaare inspiredbythelittlethingsinnaturethat ultimatelyaffectusallandyetweoftendonot fullyunderstandtheirimpact;lichens,fungi, pangolins,creaturesofthedeepoceans.

Canyoutalkusthroughausualdayinyour studio?

Iworkinoneof21spaceswith25artistsand makersatVictoriaWorksStudiosnearStroudin Gloucestershire.Ibalancemymakingwith managingallthestudiossomydayoftenstarts withcheckingthingslikefirealarmsandthat everythingisrunningsmoothlybeforeIembark oncreativethinking.Idon’toftenplanmywork inadvanceasIprefertorespondtohowIam feelingorwhatIamreadingaboutatthetime. Thereisasubconsciousresponsetothematerial andwhatisinmyhead.

Whendidyoufirststartingworkinginclay?

I’vebeenworkingwithclayforwellover20 years,initiallyIlearntthroughpart-timeclasses andcompletedaMastersatBathSpaUniversity in2018.

AnnainthestudiobyOliverPerrottPhotography

FromL-R: Fallow, Stoneware,10.5x8.5x6cm AwakeningII, Stoneware,13.5x9.5x8cm Quiescent, Stoneware,13x10x8.5cm Somnolent, Stoneware,16.5x12x9cm

What’sbeenthemostpivotalmomentinyour worksofar?

CompletingmyMAwasapivotalmoment.I didn’trealiseinitiallytheimpactithadhadand confesstoacoupleofyearsofconfusionand disorientationafterIfinished.Lookingback,I realisethattheMAchallengedanddisruptedmy wayofthinkingwhichhasledmetomakethe workI’mdoingnow.

Tellusmoreaboutyour‘Elementals’series, whendidyoubeginthisandhowhasit developed?

Covidlockdownsgavemethetimeandspaceto focusonElementals,abodyofworkinresponse tothevulnerabilityinourever-changingworld. WatchingaprogrammeaboutPangolinsIwas horrifiedtodiscoverthattheyarethemost traffickedmammalintheWorld,forcrueland unnecessaryreasons.

Iwantedtomakesomethingthatcapturedhow Ifeltaboutthesedefencelesscreatures.Itis importantthatthescalesaremadeindividually withmyfingerprintoneach,symbolisingthe negative(andoccasionallypositive)effectsof man.Inowcarrythissymbolismthroughmuch ofmyworklookingatmicroenvironmentsand man’simpactonourplanet.

Thereisafeelingofintimacyinthese sculptures,areyouabletoworkonafewat thesametime?Whendotheystartgaining theirownidentity?

FrequentlyIworkonmultiplepiecesatoncebut withthesepangolin-inspiredforms,Itendto workononepieceatatimeastheyarevery intensetomake.Iaimforaparticularcurled shapetostartwithbuttheformchangeasit developsitsowncharacterandevolvesinmy hands;sometimesawkwardandunsettlingand atothersvulnerableandsensitive.Each“scale” isaddedindividuallyandIneedtotakebreaks oftenasmyneckcanbecomequitepainfulwith theconcentrationandposture.

Youleavesomepiecesunfired,abletoreturn torawclaywithwater,hasthischangedthe wayyouthinkaboutmakingwork?

Archaeologistsfindfiredshardsofpottery centuriesaftertheywerefirstmadeandI’ve alwaysfeltuncomfortableaddingmoreofthe sametofuturefinds.Despitethat,Ibelieve, there’sadifferentconfidenceneededtoleave yourworkrawandallowittocrumbleand disappearovertime.Ihavemadeafewpiecesin rawclay,asformeitrepresentsthefragilityand vulnerabilityoftheworldinwhichwelive. Dormantisoneexamplewhereman’s(my) fingerprintsarevisibleoneachscaleandifgiven towater,thepiecewouldreturntoearthonce more.However,ifcherished,keptsafeanddry, Dormantcouldlastforever.Itfeelsanapt metaphor.

KiranLeeisanaturalistwithapassionfor understandingnature.Hehaspreviously volunteeredattheNaturalHistoryMuseum, LondonZooandLondonWildlifeTrust.Kiranis currentlyaPhDstudentwiththeSeychelles WarblerProjectusinggenomics(entireDNA sequencesofindividuals)tounderstandthe ecologyandevolutionofisland-endemic Seychelleswarblers,whichhadnearlygone extinctinthe1960s.Keyinfluencesarehis mother,akeengardenerandgrandmother,both botanistandbiologyteacher.Healsoaimsto improvediversityandaccessibilityinscienceand innaturalspaces.Hisresearchcanbefoundon GitHub.

ForTrace,Kiranwillleadatalkaboutthe ecologyofurbangardens.

Canyoutalkusthroughausualdayinyour research?

Iambehindacomputer(trying)toperform analyses,writingupresearch,attending meetings,talksandconferences.During fieldwork,Iamcatchingbirds.

Whendidyourinterestinthenaturalworld begin?

IfeelasifIhavealwaysbeeninterestedinthe naturalworld,butthiscouldbefromexposureat ayoungage.MymothersaysImemorisedallthe animalsinthepicturebookfrom15monthsold. Ithinkexposureissoimportant.

HowlonghaveyoubeenworkingatOmVed? Havetherebeenanysurprisediscoveriesin studyingthegardenthere?

AfterbeingatOmVednearlyayear,Ilearnevery dayIaminthegarden.Onesurprisewasthe diversityoflifefoundinaponddipsurvey,given hownewthepondis.

Improvingdiversityandaccessibilityin scienceandinnaturalspacesissomething you’reverypassionateabout,arethereany particularchangesthatyouthinkwouldmake abigimpact?

Recogniseandchangepowerdynamics. Representdiversebackgrounds,asrolemodels, togiveperspectivesandtocontributetopolicy decisions.

Portrait:KiranLeebyWillHearleforOmVedGardens

Nextpage:Sibling warblers competeforfoodfrommotherbyKiranLee

VivienneSchadinskyisanartistandarteducator bestknownforherevanescentJapaneseinkand naturalpigmentpaintings,capturingedibleand non-edibleplantsandflowersthatarescarceor soondistinct,duetoclimatechange.

Observationofnatureistheoverarchingtheme inVivienne’swork:fromthestudyofthesmall changeswithinthe72Japanesemicroseasons*, toworkdevelopedfromherveryextensive researchontheconsequencesofclimatechange —aswellasthepollutionofairandwater.Her workisareflectiononthelossofbiodiversity, plants’abilitytocopeandthriveinextreme weather,foodsecurity**,futurefoods,cleanair andwater.Shealsoinvestigatestheplant’slife cyclethroughinstallationsandphotographic documentations—withaparticularfocusonits journeyintoseedproduction.Vivienneis especiallydrawnto,andbattleswith,the intangiblespacebetweenabstractionand representation,oftenreflectedinnatureitself.

BornandraisedinSwitzerland,Viviennespent muchtimeinnaturethroughoutherchildhood. Afterstudyingandworkingininteriordesign, theatredesignandwoodworking,Vivienne eventuallyleftthedesignworldtofollowher vocationtostimulatethoughtandemotionswith art.

VivienneSchadinsky

JapaneseinkandJapanesenaturalpigments,framed 94x73cm

Herprofessionasanartistspansovertenyears, aperiodthathasofferedhertheopportunityto adaptamulti-facetedpracticethatencompasses environmentalartandpushestheboundariesof ecologicalart.

Vivienne’sartprojectsraisequestions.They underlinetheimportantrolearthasinvisualising theimpactclimatechangeandlossof biodiversityhaveonourenvironment.To correctlyconveytheseissuesshereceives informationandadvicedirectlyfromfiguresin thescientificcommunity;suchasamemberof KewGardens’MillenniumSeedBankin Wakehurst,theHeadofTreeCollectionsatKew Gardens,aNaturalHistoryMuseumCollections’ curatorandaprofessorspecialisedin internationallegumesbreedingprogrammesto supportfuturefoodsecurity.Vivienne’squestis toevokeanemotionalandvisceralresponsethat encouragescollectivethoughtandconversation, toshowheraudienceplantsinunexpectedways tochallengetheirperception.Thisquestisin parallelmindedtosupportwellbeingbyevoking emotionsofserenityandtheappreciationof beauty.

Herworkhasbeenshowninsoloandgroup exhibitionsinLondon,SwitzerlandandNorway. Herartworksareheldinprivatecollections throughouttheUK,EuropeandtheUS.

*Japancelebrates72differentmicro-seasons: thereare24majordivisions;ofwhicheachis splitintothree,startingearlyinFebruary (Spring).Eachmicro-seasonlastsforaroundfive days.

**Basedonthe1996WorldFoodSummit,food securityisdefinedwhenallpeople,atalltimes, havephysicalandeconomicaccesstosufficient safeandnutritiousfoodthatmeetstheirdietary needsandfoodpreferencesforanactiveand healthylife.

VanillaPlanifoliaOrchid8

VanillaPlanifoliaOrchid Japaneseink,framed 55x45cm

CoffeaArabica22 Japaneseink,framed 55x45cm

Chickpeas1 Japaneseink,framed 55x45cm

MenthaCervina1 Japaneseink,framed 55x45cm

MAGICHOUR

Anongoingprojectaboutendangeredand extinctplantsandfungiinourfoodchainand vanishingflora.

Inkpaintingsofunexpectedinterpretationsof foodplants,tochallengeperception.

MAGICHOURgivesaninsighttotherapid extinctionofplantsinourfoodandmedicine chains.Encouragingadialogueandraising awarenessoftheimportantquestionsaboutthe impactofclimatechangeonourenvironment, andemphasisingtheroleofartinvisualisingthe effectsofbiodiversityloss.

VanillaPlanifoliaOrchid2

Japaneseink,framed 28x33cm

MacadamiaNuts1

Japaneseink,framed 45x36cm

Chamomile1

Japaneseink,framed 45x36cm

Ilikeworkingincompletesilenceandminimal disruptiontofullycapturetheenergyand beautyofthenaturalworldthatItrytoconveyin myartwork.Workingindaylightisessentialto mycreativeprocess.Thechangingseasonsplay asignificantroleinhowmytimeinthestudiois structured.Duringthelight-filleddaysofspring andsummer,Ipaintandpracticeallmyartforms forlonghours,sometimesstartingat6am.

TheartmaterialsIworkwitharereallyimportant tome.Theyhavebeencarefullysourcedovera longtime.Ibelievethatusingnaturalandhighqualitymaterialsisessentialincreatingartthat reflectsthetrueessenceoftheworldaroundus.

FromtheJapanesebrushes,inksandorganic pigmentstothedifferentpaper–Iprioritise materialsthataresustainableand environmentallyfriendly.

IchoosewhichinksIwillbeusingfortheday. DecidingwhetherIwillworkinmonochrome, usingtheblackJapanese(sumi-e)inkor whetherIwillalsousethecolourpigments.Then Itakethepaperoutdependingwhichmakeand whatsizeisappropriateforthework.Andfinally Ipreparemybrushesandlinethemup.Ihavemy inkandwaterbowls,palletsandaspecialwater spoonreadytocreateallthegradients.

Thissettingupplaysalreadyanimportantpart oftheprocess.Everythingitislikearitual.The inkandpigmentgrindingontheinkstone–the suzuri–andthewaterisalwaysarrangedand mixedintheexactlythesameway.AndthenI startpainting.

BeforethisstageIhaveresearchedallthe informationneededandcanbecompletelyin flowwiththesubjectIstudiedbeforehand.The paintingprocessisconcentratedandintense withcompletefocus–atthesametimeitisalso calmandmeditative.

nthewintermonths,Ishiftmyattentionmore towardsplanning,networking,organising, developingnewideas,andcatalogingmywork.

ButIdoneedtopaintalsoduringthedarker month.Paintingislikemyenergeticremedyand mylifeflowsmorefreelywhenIcreate.

Theseasonalvariationinmyroutineallowsmeto evolveasanartistbyadaptingmycreative processtotherhythmsofnatureandthe changingseasons.Thisprocessfeelsenriching andIcancapturetheessenceofthenatural worldthatIamsopassionateabout.

GrowingupinBasel,Switzerland,Iwasfortunate tohaveregularaccesstosomeamazingnatural landscapes.Theyhadaprofoundimpactonme andbecameanintrinsicpartofmybeing.

Myfamilyalsoinstilledinmeadeep appreciationforthenaturalworld,meaningI havealwaysbeensurroundedwithforaging, gardening,andslowcooking. Thishasnourished myconnectionwithnatureandtheseasons.

AsIspentmoretimeinnature,Ifoundasense ofpeacethere.Thispeacefulnessandinspiration spoketomysoulandresonatedwithmyartistic side.Iwasfascinatedbythemountains,rivers, lakesandtheplayoflightandshadowinthe forests,andalsothebalanceoftheecosystems. IrememberoncespottinganEdelweissflowerin themountainswhichwewerenotallowedto touchorpickasitwasalreadyendangered. ThereIfeltthesignificanceofspecieslossand mydeepconnectionwiththenatural environment.

Asmypassionforartdeveloped,Ibeganto translatethetranquilityIfoundinnatureintomy art.Myworkbecameavisualexpressionofmy reverencefornatureandacelebrationofits wondersandbeauty.

Whendidyourpassionfornaturebegin?

Canyoutalkusthroughausualdayinyour studio?

SCULPTURES

MadeoutofunusedMAGICHOURpaintings andcoveredinplaster,finishedwithGesso. Presentedonasmallplinthfilledwithearth.

ResemblingancientGreekandRomansculptures thatarestrikingforthedominanceofpurewhite marble.Butlookscanbedeceiving,because thesefiguresofgodsandheroeswereonce richlyclothedinvividcolours!Polychromy forgotten,faded.

Aviewtohowmaybethesefamiliarfruitsmight berememberedonedayonlyfortheirshapeas theircolourshavefaded.

AvocadoB

Re-usedpaintings,plaster,gesso onre-usedpictureframeplinth 13x11x10cm

CavendishBananaC

Re-usedpaintings,plaster,gesso onre-usedpictureframeplinth 26x11x10cm

TomatoSanMarzanoA

Re-usedpaintings,plaster,gesso onre-usedpictureframeplinth 22x11x10cm

Hasnaturealwaysbeenastartingpointfor yourart?

Choosingplantsasmymediumwasnotsomuch aconsciousdecision,butrathersomethingIwas drawnto.WhenIstartedfocusingonfineartfull timeover10yearsago,Iexperimentedwith varioussubjectsandtechniques,andwhilst othersalsoappreciatedmylandscapesand portraits,Iwasalwaysfascinatedbyplants, especiallythecloseuporevenamoreimmersive andabstracttakeonthem.Ifoundmyself constantlyobservingthemandbringingthem intomystudiototakephotos,tosketchandto pressthem.Fromthere,theenvironmentalart naturallyevolved.

Theresearchyouareadvisedbyisfascinating, doesyourartworkcomeintuitivelyfromitor doyoufindyouneedtimetoprocess?

Ihavedifferentscientificadvisors–forexample formyprojectMAGICHOURIamadvisedbya plantecologistfromTheMilleniumSeedbankin Wakehurst,KewGardens.Theirworkfocuseson findingsolutionforsustainablewaystouse seedsandhowtheycandevelopplantdiversity andtheconservationofthreatenedplant species.

Havingthisspecialistfromthisfieldisimportant tomywork.WeareintheAnthropoceneage, globalclimateandenvironmentalchangesarea resultofhumanactivity,whichcausestherapid extinctionofplantdiversity.Thisthreatensthe wildplantsthatweuseforfoodandmedicine.

TheRoyalBotanicGardens,Kew,conducts researchanddocumentsplantandfungal diversitythroughinternationalprojects.Asan artistIfocusononlyoneaspectoftheirwork.To dotheirincrediblewealthofknowledgeand actionjustice,Ispendalotoftimelearninghow totranslatescientificknowledgeintomyvisual world

Ittakesalongtimeformetodigestthe information,tomakesenseofit,andfinding wayshowthisknowledgecanberelevantin communicatingitthroughmyart.

Therearemanyendangeredfoodplantsthatare veryfamiliartous.TheCavendishbanana–the bananathatismostcommonlyknowntous,inall oursupermarkets–istangiblebecauseIcanstill eatitandthereforehaveasensoryconnectionto it.ThisfeelingisreallythereasonwhyIstarted thesculptures.Bycreatingthree-dimensional piecesIcanfurtherconnectwithmysubject matteronanotherlevel.Thetactilenatureofit allowsmetodeepenmyunderstandingofthe endangeredfoods.Thissensorialinformation helpsmetounderstandbetterwhatisaround us.Icanthereforepaymoreattentiontothe detailsthroughthisexperience.Weseewithour eyes,thehandscantouchandcreatesomething visual–andthatvisualcanevokeafeelinginour soul.

Myworkisanattempttocapturethe imaginativerealmthatisbeyondourverbal communication.

OnceIhaveabsorbedalltheinformationandI taketheideastomystudiotheworkisvery intuitive.Itisameditativeflow–connectingto theenergyandemotionreflectingwhatIlearnt frommyresearch.

1/2 3/4 5/6

AllJapaneseink,57x46cm,framed:

1. Grapes,withJapanesenaturalpigments

2. Cacao7

3. Cacao6

4. CucumberCaroselloTondoDiManduria2

5. Potato2

6. OpiumPoppy11,withJapanesenaturalpigments

Doyoucreatemanypaintingsofeachplant? Doyoufindyourselfreturningtoparticular ones?

Myprocessusuallyinvolvesdoingmany paintingsofaplantinordertotrulyunderstand it.Themindbecomesmorerefinedandsensitive troughtherepetition.Iamfascinatedbythe philosophyofsumi-e,aJapaneseblackink paintingstyle.Itcapturessomethingaliveby reducingeverythingthatisunnecessary.Theaim istoevokeemotionsthatcanbefeltby everyoneandcommunicatethetrueessenceof nature.

Observationofnatureistheoverarchingtheme ofallmywork.Ihavebeenstudyingthesmall changesthatoccurwithinthe72Japanesemicro seasonsforsomeyearsnow.ThereforeI automaticallyreturntocertainplantsthatIfind particularlyinspiring,forexampleduringmy favouritetimeofyearinspringwhenallthefruit treesblossomortoobservethemwhentheyare atanotherpointintheirlifecycle.

CanyoutellusmoreaboutyourMagicHour series?Howlonghasthisprojectbeenongoingandhasyourapproachtoitchangedas itsdeveloped?

Therealisationofplantextinctionhadoriginally ledmetolaunchmyfirstenvironmentartproject relatedtoplantsSUNRISE-SUNSET–which focusesonendangeredflowers.Thiseventually leadtoMAGICHOURwhichexploresthe extinctionoffoodplants.

MAGICHOURnotonlyhighlightsthe importanceoffoodplantsbutalsoexploresthe culturalsignificanceoffoodinourlivesandthe waysinwhichitbindsustoourhistory,traditions andheritage.

AsIcontinuetoworkonmyprojects,Iam learningmoreoftheconnectionsbetweenthem. Forexample,myfocusontheextinctionoffood plantsinMAGICHOURledmetolaunchmy futurefoodprojectCIBUS,whichexploresways toensurefoodsecurityandsustainabilityinthe faceofclimatechange.Thisinreturnledto SEGES,aprojectthatexaminesfoodplantsthat thriveinextremeweatherconditionssuchas heatwaves,droughts,fires,stormsandfloods, andwasinspiredbytheunprecedentedheatwe experiencedlastsummer.

AlthoughIcannotgivemyfullattentiontoall projectssimultaneously,eachworkIcreate influencesthenext,andIdonotwanttomiss anyoftheseconnections.TheprojectsareallrevisitedinregularintervalsandwitheachreturnI havegainedmoreknowledgeandhave thereforeaslightlydifferentapproach.

VickyChownwasbornandraisedinLondon.She hadacallingtostudynaturefromayoungage anddidn'tletcitylivinggetintheway.She beganforagingandgrowingfoodandmedicine asateenagerinanygreenspaceshecouldfind -localparks,wastelands,windowboxesand backgardens.

HerpassionforherbsledhertoworkforNeal’s YardRemediesfor7yearswhereshedeveloped herknowledgeofherbalremediesandnatural skincare.Thisledtostudyingtobecomea medicalherbalistBScatWestminsteruniversity andteachingforagingandherbalremedy making.Shenowfocusesonthegrowingand foragingsideofplantwork.Runningorganic permaculturegardenswhereshenowgrows manyoftheplantsthatareusedforHandmade Apothecary,aswellasfoodfortheQueen's WoodCafeandOmvedGardens.

ForTrace,VickywillbehostingatourofOmVed’s permaculturegarden,discusspesticidefree growingandcompostingtechniques.

VickyChown

Canyoutalkusthroughausualdayinthe garden?

Thedayalwaysstartswithawalkaround.I observeandinspecteverything!Oftenstaringat bedsorsitthinkingofwhatwillgowhere,what willbeharvested/planted/moved/weeded.The gardenisconstantlyevolvingandeachseasonis differentsogardenactivitiesdochangealot throughouttheyear.

Whendidyoustartworkingwithplants?

MyfirsteverplantwasStachysbyzentinaAKA Lamb'sEarthatIboughtfromacarbootsale withmymumwhenIwasabout8.Ithadthese beautiful,tactile,fluffyleavesandtheplant spreadandtookoverthewholegarden.From thatmomentIwashooked!FromthenIstarted togrowtomatoesandbasilinpotsandfinally gotmyfirstallotmentat19.

Asamedicalherbalist,whatisyourfavourite unusualuseofcommonherbstointroduce peopleto?

Ilovetopromoteallthemostrobustand abundantherbsthatpopupwithease.Things likenettle,plantainandyarrowwhichare essentiallyweedsthatcanbeusedforaplethora ofhealthbenefits.Ilovetochangepeople's perspectiveonwhata'weed'is.Onceyourealise howdeliciousandnutritiousnettlesare,andhow abundantlytheygive,you'llseethemdifferently.

VickyChownbyWillHearleforOmVedGardens

HowlonghaveyoubeenatOmVedGardens? Haveyourthoughtsandapproachtothe gardenchangedoverthistime?

Ihavebeenheadurbanholisticgrower(HUG)at Omvedsince2019.Thegardenitselfhas changedalotinthattimewithnewbedsup,two beautifulwildlifepondsandmanymoreexciting thingspoppingupalongthewayincludinga newseedsavinghubandgreenhouse.Ithinkthe ethicsofthespacehavestayedthesame, thoughourpracticeisconstantlyevolving.We trynewthingsallthetime,newvarieties.new methods.Forinstancethisyearwemadebiochar fromourcoppicedhazelwhichweaddedtoour bedstoenrichandholdontonutrientsinthesoil.

Withthoughtsontraceandimpact,arethere certainplantsyouwishthatmorepeople grew?

Weedsforsure!Edibleweedslikenettleand dandelionarenotonlydeliciousandnutritious buttheyareexcellentfoodsourcesandhabitat forallkindsofwildlife.Butitdoesn'treallymatter whatyougrow,evenapotofbasiloronebush tomatoplantwillhavesomeimpact.Ifevery personintheUKgrewjustonetomatoandone basilplant,thatwouldequatetoaround250 millionportionsoffood.That’salotofairmiles andplasticpackagingsaved!

Oca(Oxalistuberosa)grownatOmVedGardens

PhotographybyWillHearle

"FromanearlyageIwalked,drewandpainted landscape,thoseoftheSouthDownsandLake Districtmakingaspecialimpact.Isawtheir thinnessofsoilasabeautyofsparenessanditis thatqualityI'vetriedtobringtothesepieces.I alsosawtarnsencircledbyhills,inlowlight conditions,glisteningsilver."

BasednearLewes,EastSussex,SarahWaltonis anartistworkinginceramic,oak,leadandcast iron.

Between1975and2019,Sarahproducedsalt glazestoneware.Sheinitiallyconcentratedon throwntableware,gainingrecognitionforits restrainedauthority,butin1985,began developinglargehand-builtandpress-moulded formsforoutdoors,notablybirdbaths.Sheis particularlyknownforherseriesofbirdbaths reminiscentofsquareboulders,setontimber bases.Inthoseyearsshealsoexperimentedwith makingsizeableabstractsculpture,usinghersalt kilntoproduceit.Shealsotriedworkingwith castironandlead.

In2019shewentrightdowninscaleandstarted tomakesmallsculpturesinspiredbylandscape. Thesearefiredinelectrickilns.

Sheacknowledgesadebttomediaevalpots,the artsofMesopotamiaandSouth-EastAsia,to NeolithicArt,toWesternPainting,sculpture, architecture,music,literature,poetry,wit, philosophyandreligion,andtoinnumerable peopledowntheyears,especiallyWeislaw Pilawski,IreneMilburnandJeanSpacek.

Sarah’sceramicsarerepresentedin15UK museumcollectionsandnumerousprivateones.

BirdbathbySarahWalton. PhotographybyWillHearleforOmVedGardens

Bottom:

QuarriedHillside,Cumbria

Ceramic 14x24x13.5cm

Topandright:

BostalBottom,SussexDownland Ceramic 14x23x22cm

HeatherGibson’sceramicsexplorethethreshold betweenartandtheeverydayobject.

Drawinginspirationfromancientpottery traditionsaswellasthemonumentalceramicsof abstractexpressionists,suchasVoulkosand Tiffoche,Heather’sapproachtomakingisboth spontaneousandalive.Oftenbeginningby striking,carvingandfacetingablockorathick slabofclay,foundobjectssuchasoldtools, driftwoodandbrokenpotteryareusedtocreate uniquesurfacehistories.Throughaprocessof diggingthefinalformisgraduallyuncovered. Vesselsarehollowed-out-kurinukistyle.A carefulalchemyofslips,oxidesandglazesare applied,oftenpouredacrossthesurface.

Throughthismethodsheinvitesriskintoher work,encouragingthetruenatureofclayandits abilitytogivesomethingback-something beyondourcontrol.

Byexploringclayasacanvasfortrace,memory, andmarkmaking,Heatherhopestocapturea historyintheobject,reminiscentofthecycleof timeandthenaturalageingprocess.

HeatherGibsonisaceramicartistlivinginNorth London. Herartworksspanlargescaleceramic wallpieces,sculpturallycarvedvesselsand tableware.Havingoriginallytrainedin PhotographyatNottinghamTrentUniversity, shenowworkspredominantlyinclay.

KurinukiTeaBowl1 Redstoneware&tinglaze 9x10cm

HeatherGibson

Canyoutalkusthroughausualdayinyour studio?

Mystudiositsonthetopfloorofanoldsweet factoryinNorthLondonandhousesavibrant communityofpottersandceramicartists.I usuallystartthedaywithagoodcupofcoffee andaquickcatchupfollowedbythemost physicallydemandingtaskoftheday,beit wedgingclayorrollingoutthickslabsfor carvingandhandbuilding.

Oncetherawmaterialsareprepared,Iselectmy tools.Ihaveawidevarietyoffoundobjectsin mytoolkit.Fromfragmentsofbrokenpottery anddriftwoodtocombsandwires,Iuseeach uniquetooltoetchandcarve,carefully constructingeachvessel.Itendtoworkinseries, eachpieceinformingthenext,allowingfor discoveriestobemadealongtheway.Allmy ceramicsareentirelyhandbuilt,thenslipped andfiredto1000°C,beforebeinglayeredwith glazeandfiredagaintostonewareinanelectric kiln.

Whatfirstdrewyoutoclay?

IoriginallytrainedasaPhotographer,althoughI alwaysfelttherewassomethingmoreIwas seekingcreatively.Ifirstdiscoveredclaywhilst workingasastudioassistantforaceramicartist andwasimmediatelydrawntothephysical natureofthematerial.Gettingbackintouch withworkingwithmyhandsbroughtbackthe fearless,primalnatureofcreatingthatI’dbeen missing.Ilovethatthepossibilitieswithclayfeel endless.Photographystillverymuchinformsmy practice.UsingmycameraIexploreperipheral areasofthecity,capturingtransitionalspacesin theurbanlandscape.Myphotographsactas sketches,whichIthenexplorethroughthe tactilityofclay.

What’sbeenthebiggestpivotalmomentin yourpracticesofar?

Thisyear,Ibeganpursuingceramicsfulltime.I havealwayssplitmytimebetweendifferent jobs,sofocusingcompletelyopenedlotsofnew possibilitiesforme.Irecentlytookpartinmy firstPotfestandlaterintheyearIwillbe attendingtheRoyalCollegeofArttoundertake amastersinCeramicsandGlass.Iamfeeling confidentinthedirectionmyworkisgoingand amveryexcitedtoseewhereayearofin-depth studywilltakeme.

Isfunctionalityimportanttoyourforms?

Exploringfunctionalityinmyformsisimportant tomebecauseitreflectstheaccessibilitythat ceramicsrepresents.TheshapesIcreateecho earlyformsofpotterywhichwerecreatedto serveautilitarianpurpose.Byexploring recognisableforms,Ihopetouncoverour relationshipswiththeseobjectsandhowwecan exploredeepermeaningsofthepast,place, cultureandpeople.

Yourmarkmakingissointuitive,whatareyou thinkingaboutasyouwork?Doyoulistento music?

Likemanyceramicists,Iamespeciallyinspired byJapaneseandKoreanpotterytraditionssuch as‘kurinuki’and‘buncheong’.Thereisasemiperformativeelementtothisstyleofworking whichfascinatesme.Ilovetheactofpouring, brushingorsplashingslipandglaze.Ienjoy listeningtoavarietyofmusictohelpmefinda rhythminmymovements.Itrytobe unselfconscious.Mymethodunfoldsorganically, respondingtocircumstancesandevolvingwith them.

Youobviouslyhaveastrongrelationshipfrom yourprocesswithyourmaterials,canyoutell usmoreabouttheredclayyouuse?

Whileworkingonthiscollection,Ichosetowork withadistinctiveredsculpturalclaybody,richin ironandidealforcarvingandcapturing impressions.Myprocessstartsbygettingafeel fortheuniquecharacteristicsoftheclay, buildingafoundationfortherawformto develop.Toadddimensiontothesculptural surfacescreated,Ithenlayercontrastingwhite slipsandglazesthatallowtherawearthysurface underneathtostillbeseen.Icontinuetobe fascinatedbythisclaysabilitytogivesomething back,somethingbeyondcontrol.

MoonVesselNo.1

Redstoneware,texturedslip&tinglaze

29x25cm

MoonVesselNo.2

Redstoneware,texturedslip&tinglaze

23x19cm

SlateSteppingStone

PipHall

“Ienjoycarvingpoetryandproseinstone.Ilike theopportunitytoexperimentwiththeway wordscaninfluencetheformandlayoutofthe lettering.”

PipHallisarenownedlettercarverbasedonthe edgeofCumbriaintheYorkshireDales.Her workincludesletter-carving,illustrationand printmaking.Hermaininterestisinexploringthe illustrativeanddecorativeaspectsoflettering, andthishasbeenthechiefactivityinher workshopforthepastthirtyyears.

PipisknownbymanyforthemuchlovedStanza Stones,inwhichshecarvedthewordsofpoet SimonArmitageintotheruggedandvaried geologyoftheNorthYorkMoors.

Canyoutalkusthroughausualdayinyour studio?

Atypicaldayisrarethesedays,andtheideaof aworkshopiscurrentlyadream.Buthereare somerecentactivitiesthathavebeenshaping mylettercarvinglife.ThelasttwodaysIspent carvingabenchonmyknees(someyoga stretchesnowbeckon!).Myworkshopwasthe beautifulStoneGardencreatedbyRonnie DuncaninWharfedale,NorthYorkshire.The previousdayIwasinarowingboatonLake WindermerewithNationalTrustclientsand soundengineerdiscussingWordsworthfora podcastaboutarecentcarvingprojectI'd beeninvolvedwiththere.Thesearenottypical days!ThenatureofmyworkisthatImusttravel tomyrockifitcan'tbetransportedtomyeasel, somyworkshophasbeenvariouslyuponthe YorkshireMoors;inthewoodsonthebanksof Ullswater,inabeck,aboathouse,incitycentres andprivategardens.

Butinbetweentheseexcitingexcursionswith mytools,Icanbefoundinthebackyardofthe OldSchoolinDentdale,carvingcommissionsfor memorials,forhousesignsandpoetry.Ioften maketripstothequarriestochoosestone,or meetaclienthereoronsitetodiscussaproject. Morningsaregoodtimeforthemostcreative partoftheprocess:drawinganddesigning,so afternoonsgenerallyaretakenupwithcarving, butthisisnotregular,withdeadlinesoften intervening.

Whatfirstdrewyoutostonecarving?

Thearrivalofthecomputerinthedesignstudio Iwasworkingin(intheearly1990s)crucially mademerealisethatthethingIlovedmost aboutbeingatypographerwasthehands-on, tactileaspectofmakingartwork.Whenthe computerreplacedthispartofmywork,Ihadto findadifferentwaytoearnmylivingbymaking thethingsIdesigned.

Avisittotheworkshopof(thelate)lettercarver CarolineWebb(whohadalsostudied typographyatReadingUniversitywhenIwas there)providedthelightbulbmomentIsoughtat thattime.Iwatchedhercarvethemostbeautiful, flowingandlivelyhand-drawnletteringinstone andwashooked.Sheshowedmehowtoholda chisel,suggestedIapproachmylocal monumentalmasonforsomestonescrapsfrom hisskip-andIwasoff.

Wheredoyoufindtheprosethatyoucarve?

Readingandradioprovidemewithmostofmy inspiration.

Howdoyousourceyourstone?Whatareyou lookingforinthestoneyouchoosetowork with?

Stoneusuallycomesfromquarries.But sometimespeoplewillbringmepiecesthey wouldlikecarvingandtheseareusuallyfinefor carving-iftheyarenotgraniteortoocrumbly.

Occasionallymystonerequirementsarevery specific.Forexample,onarecentWordsworth poetrycommissionfortheNationalTrustat Windermere,Ihadtofindstonesthat would fit inwithparticularfeaturesoftheshoreline.The clientandIwerelookingforpiecesnotonly largeenoughtocarrythewords,butthatwere naturallyshaped,thickerthanflagstonesanda similargreytotheslateremnantsontheshingle beachforwhichtheyweredestined-andwith smoothenoughsurfacesforcarving.Thestone neededtobesoundtoo:Ihadtoabandonthe firstsetofstoneswebroughttothesitewhen crackswerediscovered!Thesearchresumed, andeventually,exploringataLortonfarm,I foundtheidealpieces,allinterestingshapesin themselves,andstrongenoughtostandthetest oftime.Ilovethispartofmywork-theechoes ofgatheringpebblesonbeachesasachild.

Canyoutellusaboutthetwopiecesyouhave createdforTrace?

SlateBasin:Ancientandcontemporary influencesshapethispiece.Ihavebeeninspired bythebasinasaforminwhichtocarvewords eversinceseeingtheshallowstonebowlsat NewGrange.Theseneolithicbasinsrestinthe dimlylitpassageway,thegloomaddingtotheir mystery:forwhatritualisticofferingswerethey intended?Inthishallowedspacetheirpurpose seemedtomesomethingotherthanforthe preparingorservingofbodilysustenance.Iwas inaweofthefactthattheywereshapedbyhand withtoolsmadeofstone-thesametools wereusedforinscribingtheperimeterstone slabswiththeirdistinctivetriplespirals,which alsocaptivatedme.

Thebasinformechoessuchabeautifulidea expressedinIrishauthorClaireKeegan'sshort story WalktheBlueFields.Here,acharacteris talkingabouttheartofconversation:'Shesaid self-knowledgelayatthefarsideofspeech.The purposeofconversationwastofindoutwhat,to someextent,youalreadyknew.Shebelieved thatineveryconversationaninvisiblebowl existed.Talkwastheartofplacingdecentwords intothebowlandtakingothersout.Inaloving conversation,youdiscoveredyourselfinthe kindestpossibleway,andattheend,thebowl wasonceagainempty.'Thebowlbecomesa containerforwords,offeredas nourishmentandenlightenmentforthesoul.

ThewordsIhavecarvedarefromAndrew Marvell'spoemThoughtsinaGarden,whichis embodiedinOmved'sholisticandregenerating ideas.Theletteringspiralsaroundagreenslate basin,whichwillsitamongthewildflowersof Omvedrestorativegarden.

SlateSteppingStone:thisgreenslatepiecewas thelastpiecetocomeoutoftheElterwater QuarryintheLangdales,beforeitclosedafew yearsago:itwasmyfavouriteplacefor findingunusualpiecesofslate,andnotleast becauseoftheveryfriendlyandhelpfulstaff there.Theslatehasbeensittinginmygarden eversince,waitingfortherightwordstoarrive. Thereismuchtofiretheimaginationin thisswirlingmetamorphicrock,formedmillions ofyearsagofromvolcanicash.Thesetwowords oftheancientGreekphilosopher,Heraclituseverythingflows-seemapthere:asuccinct descriptionofauniversal,elementalprocessand verymuchpartoftheholisticideasembracedat Omved.

SlateBasin

PortraitphotographybyPaulinaSidorowicz

MaruJotaisasinger-songwriter,guitaristand performingartistfromArgentina.Hermusicisa vibrantfusionoflatinrhythms,reggae,pop,and jazz.Withanemotionalandpowerfulvoice,she createsmemorablemelodiesfullofsouland passion.Sheiscurrentlycreatinghersecond albumandperformingvariousconcertsacross Europewithherownsongsandcovers.

ForTrace,Maruwillbeperformingaspartofa speciallateopening.

Canyoutalkusthroughausualdayinyour practice?

Everydayisdifferentexceptformymorning routine:Iwakeupandwrite3pagesofthoughts, dreamsIhad,ideas,todo's,basicallywhatever comestomind.It'slikecleaningmybrainfirst thinginthemorningandallowingittotakea fresherstart.I'vebeendoingthisfor5yearsnow andit'shelpedmecreatesongs.AfterthisIlike tomeditateandthendosomeyoga.Afterlunch normallyI'llrehearsethesongswithmyloop pedal.Iliketotakeatleast3hoursforthisand normallydoit3timesaweek.Iliketoleaveaday intheweekwhereIhavenothingonmyagenda otherthantositandtrytowriteasong.Currently I'mworkingonmysecondalbumsoI'vebeen recordingmusicvideos,goingtothestudioto recordvocals,meetingwithmyproducer, planningthereleaseofthesongs(I'vereleased4 singlesofthesecondalbumalready).

Whatisyourearliestmusicmemory?

Iwas5yearsoldandmykindergartenteacher hadgiventheboysoftheclassasongtolearn.I lovedthesongsoIlearneditanyway.Whenwe gotbacktoschooltheyaskedwhowantedto singitandIraisedmyarm,asnoboyswantedto singittheygavetheparttomeanyway.Next thingIrememberissingingonstageinfrontof 200peopleandlovingit.

Wheredoyoufindyourinspiration?

Forlyrics,I'minspiredbythethingsthathappen tomeinmylife,alotcomesfrommytravels,my lovedonesandalsoitcomesoutoftheneedto expressmyfeelings.Myinspirationformusic comesfromTheBeatles,BobMarley,Stevie WonderandSpanishspeakingartistssuchas NataliaLafourcade,JorgeDrexlerandElKanka. Ilovemixingthose2worldsanddifferentstyles.

Youplaydifferentinstrumentsandhave variedinfluences,wasitdifficulttofindyour ownsound?

IstartedbyplayingthepianowhenIwas8,then theguitar,atschoollearnedbassclarinetand sanginthechoirsoIwassurroundedbymusic. Findingmyownsoundcamefromplayingalot ofcoversfirst,andmakingthemmyown.Iwould onlychoosesongsIlovedtosing.Countless hoursofrehearsing,playingwithbands,playing solohelpedmefindmysound.AlsoIhadreally goodmusicteacherswhowouldencourageme togowritemyownsongssinceIwasinschool.I foundmyselfusingelementsfromthesongsI playedbeforeformyown.I'vebeenpartofmore than10coverbandsbackhomeandenjoyed playingdifferentstylessowhenIstartedtowrite myownIfoundthatIlikedtomixthoseupand feltnatural.

Whatisthestorybehindtheartworkofyour latestalbum,Literal?

Thisartworkismeanttobeamashupofthe individualsongsthatmakepartofthisalbum.I releasedeachoneofthesongswithitsownart coverandthenIwantedonethatwoulduniteit all,showingmypassionfornature,thesunset andthesea,thoseplaceswhereyoucanjust relaxandletgoofeverythingthatworriesme. Theguitarisinthefrontcauseitcomeswithme everywhereIgoandhasbeenmycompanion sinceIwas13yearsold.

ArtworkbyLucreciaTomaselli

RogerColl

“Iliketothinkthatweallhaveourartistic language,oratleastwetrytofindit.Inmycase everysinglesculptureImakeispartofmyown languagethatI´mdeveloping.Eachsculptureis likeawordthathelpstodefineit.”

AfterstudyingArchitecture,Sculptureand Ceramicsandhavingspentseveralyears workinginanarchitecturestudioinBarcelona, RogerCollestablishedhisfirstceramicstudio andworkshopinBarcelonain2009.In2014he movedtoVicwherehenowlivesandworks.He strivestomakepeopleappreciateceramic objectsandsculpturesandbelievesthatworking inceramicsisacaptivatingformofartwiththe potentialtounleashcreativity.

Roger’sworkhasbeenexhibitedinternationally insoloandgroupshowssince2010including NewYork,Berlin,Milan,StockholmandLondon. Hissculpturewaspublishedinthebook‘New WaveClay:CeramicDesign,Artand Architecture’(2018)byTomMorris,a296-page surveyof60internationalceramicists,examining ‘anewbreedofceramicist:nottraditional artisans,butdesignerswhochooseclayastheir meansofcreativeexpression.’

Canyoutalkusthroughausualdayinyour studio?

Everydayisalittledifferent,butitwouldbe somethinglikethis.Iusuallysetmyalarmfor 5:55,eatbreakfastand/orhavecoffee,andhead tothestudio.Itisonlya7minutewalkfrom home.IfIdon'thavetotakekidstoschool,I don'tleavethestudiountil4:00or5:00p.m. withtheexceptionofmycoffeebreak.

Ihavechangedmyroutineslightlyinthelastfew months.Iusedtohavealotofpiecesindifferent stagesatthesametimeandgofromoneto anotheranddoallkindsoftasksinoneday,but nowItrytoworkingroups,whichmeansIcan spendweeksjustbuildingnewpieces.Thenas thesculpturesdryandIbegintobisquefire them,Icanfocusonsanding,whichisthemost demandingandtime-consumingpartofthe process.Whensomeofthemarereadytoglaze, Icanpreparethemfortheirsecondfiringata highertemperatureandhavethemreadytobe photographed.

Thismeanstheroutineinthestudioisnever exactlythesameandIcangofromafully occupiedspacewhenI'mbuildingand everythingisinthemiddletoanemptystudio whenalltheworkshavebeencollectedfor shipping.

Whatfirstdrewyoutoceramicsasamedium?

IthinkitisbecauseIcomefromafamilyof farmers(bothmygrandfathers).Iusedtospend alotoftimeduringmychildhoodonafarm playingwithearth,stones,branches,mixing everythingwithwater,buildingtentsetc.andI developedanearlyinterestinmaterialsand buildingthingswiththem.Itwasnotaftersome yearswhenIhadalreadystartedatuniversitythat Ifelttheneedtogobacktothatfeelingand decidedtostartgoingtoceramicclasseson Saturdaymornings.

What’sbeenthebiggestpivotalmomentin yourpracticesofar?

Iwouldn'tbeabletodefinejustoneimportant momentinmypractice,itisratherasetorsum ofdecisionsthatyoumakebasedongetting whereyouwanttogo,andwhichcoincidewitha momentofchangeorrupture.Iamnotimpulsive inmakingdecisions,butIamguidedbyfeelings. Sometimesit'spositiveandsometimesan unnecessarywasteoftime.

Oneofthoseimportantmomentscouldbethe firsttimeIparticipatedinCeramicArtLondon, becauseitforcedmetofocusexclusivelyonmy sculpturesandbreakwiththetypeofpiecesI hadmadeuntilthenthatdidnotfulfilme.Ihad hadthefeelingthatitwassomethingIneededto doalongtimeagoanditwashardformetotry andapplytoit.

Inthesamewaythatitwasdifficultasimportant formetoleavemyjobyearsagoatthetechnical architecturestudioandbreakwiththatwhole world,togoawayforawhileandstartfrom scratchmakingmyceramics.

Orrightnow,thatIaminterestedinincluding andworkingwithnewmaterialsinmypractice andmakingachangeofscaleinsomepieces.

Whatareyourbiggestinfluences?

Ihavealwaysbeenfascinatedbysculpture.Asa childIrememberbuyingallthebooksIcould findbyRichardDeacon.Theuseofmaterials, understandinghoweachonebehaves differently,theshape,thescale,thefinishes.A wholeseriesofabstractconceptsthatconveya specifictypeofemotionthathasmetrapped.

MycollectionofobjectsthatIcollectedonsite visitswhenIworkedinthestudio,things apparentlynotdirectlyrelatedtothepracticeof sculpturesuchastheworldofcookingor gardening.Understandinghowthingsgrow, howtherawmaterialistreatedtotransformit intoadish,seemsfascinatingtomeandItryto learnaboutitallthetime.

Howdoyoudecidewhenaformworks?What areyoulookingforinafinalpiece?

Ineverstartapieceknowinghowitwilllook.I likemakingdecisionsastheformgrows.If everythingwasplannedfromthebeginningit wouldbetooboringorIcouldhandthejobto somebodyelseandthisisnotthewayIwork.It isdifficulttoexplainwhenapieceisfinished,I justknowit.Ihatedescribingitlikethisbutit’s truethatinawayithastotransmitsomethingto me.Sometimesistheform,orthescale,the emptyspacesinit,thegesture…

Whatdoesitmeantoyouwhenseeingyour workindifferentcontextsoutsideofthe studio?Especiallywithbeingexhibitedand collectedmoreandmoreinternationally.

Thefeelingisabitlikethatofbeingaparentand seeinghowyourchildrenrelatetoan environmentinwhichyounolongerhaveany typeofcontroloverthem,andyouseethem moremature,withtheirownpersonalityandyou feelaninexplicablekindofpride.Itisan inevitablepartoflife,youtakecareofthemand helpthemgrow,butyouknowthatsooneror latertheywillleave.

BLUETC2302 Stoneware Approx35x30x25cm

Stoneware Approx40x35x30cm

WHITETC2301

Stoneware

Approx55x55x45cm

BLUECOTC2301

Stoneware Approx65x45x40cm

WindDrawingSaturday1stApril2023

ShippingForecast-57*43'14"N/007*10'9”W

Malin,Hebrides,Bailey.CyclonicbecomingNorth West4to6,occasionalrain.Good.Occasionallypoor waterinBailey.

Inkonpaper,limewashedboxframed 83x83cm(framed)

“IliveandworkontheIsleofBernerayinthe OuterHebrides,Scotland-aspeckamidsta chainofislandsontheedgeoftheAtlantic Ocean.”

“Todwellinsuchaplace,wheretheforcesand cyclesofnatureareextreme,isbothinspiring andhumbling.Naturehereisdictator,rhythm setterandproviderdespiteourtechnological advancements.”

“Iworkcreativelywithnaturalphenomena, takingmyinspirationfromthecomplexity, strengthandbeautyoftheoceansandwild lands.”

“Appreciatingtheknowledge,skillsandculture ofthepeoplewhodwellintheseplacesispartof thisprocess.However,myworkisfromthe perspectivethathumansarenotcentralbut merelypartofthesenaturallyoccurringsystems andcyclesthatarecomplex,integratedand vast.”

“Eachofmywinddrawingsareunique..The largescalewinddrawingsaregeneratedusinga largetripodsituatedinawindyspotsomewhere ontheIsleofBernerayintheOuterHebrides. ThesmallercircularStormBarreldrawingsmay havetravelledabitasthisequipmentismore hardy,transportableandcanbeleftoutforlong periodsoftime,eventhroughoutafullstorm.”

“EachdrawingisnamedaftertheShipping Forecastforthedayonwhichitwasmade.”

WindDrawingSunday26th March2023

ShippingForecast-57*43'14"N/007*10'9”N Rockhall,Malin,Hebrides.Variable2to4then northerly5to7later.WintryShowers.Good occasionallypoor.

Inkonpaper,limewashedboxframed 83x83cm(framed)

WindDrawingFriday7thApril2023

ShippingForecast-57*43'14"N/007*10'9”W

Malin,Hebrides.Variable4atfirstinMalinand Hebrides.Otherwisesouthorsoutheast5to7 occasionallygale8later.RaininMalin,occasional showersinHebrideslater.Goodattimespoor. Inkonpaper,limewashedboxframed 83x83cm(framed)

Canyoudescribetousausualdayinyour practice?

“Ileadamulti-facetedlifeontheIsleof Berneray,thisisquitecommonforislandersas youoftenneedseveraljobsacrosstheseasons tomakelifeworkhere.Aswellasbeinganartist, IamalsoacrofterandbreedHebrideansheep partoftheNorthAtlanticsheepbreed.Myday startswithcheckingmyflock,lambinginthe springorfeedinginthewinter.Thisisimportant tomypracticeasitbringsmeoutinallweathers battlingtheelementsorobservingthechanges intheenvironment,birdlifeandfloraasthe seasonschange.”

Howlonghaveyoulivedontheisleof Berneray?Whatdrewyouthere?

IhavelivedonBernerayforaround25years.My husband'sfamilyarefromtheislandandwe movedup,startedafamilyandbuiltourcareers. Ihadn’tanticipatedthatitwouldbeforeverbut hereweareafewyearsdowntheline.

Wheredidyourrelationshipwithartbegin?

IstudiedmyFineArtdegreeasamaturestudent afterworkingincontemporaryartonthe mainlandthencommunitydevelopmentherein theislands.Therestofmysiblingshadall studiedartandIwasthelastonetosuccumbto thepullofcreativity.Ihaven’tlookedbackand certainlylivingintheHebridesyourarealmost overwhelmedbysourcematerialasitissucha

Howdidyourwinddrawingprocessdevelop? Didyouhavetodeveloptheequipmenttodo this?

Thewinddrawingsoriginatedfrommydefeated attemptstoworkoutdoors.Livingonasmall islandontheedgeoftheAtlanticweare continuallybuffetedbyextremeweathercycles throughouttheyearnotjustinwinter.Irealised thatIneededtoworkwiththesecyclesto becomethevehiclethroughwhichIcouldgive themexpression.Tomakevisibletheelemental qualitiesoflivingonthethisedge.

Theequipmentisquitesimplebutthatisthe beautyofit.Livingonanislandyouneedtobe abletofixthings.Wehaveashedfullofbitsand piecesforup-cyclingandrepairingsoIjust workedawayuntilIfoundcombinationsthat worked.Althoughsimpletheydoneed adjustingandcalibratingtogetaestheticresults buteverysingledrawingisdifferentwhichispart ofthecharm.

Arethereanypartsorresultsfromworking withtheelementsthathavesurprisedyou?

EverytimeIliftthelidonmyStormBarrelitisa surpriseasIhavenotideahowthedrawingwill turnoutwhichispartofthecharmbutalso frustrationsometimes.Thewindcreatessuch beautifulmarks.Ihavetriedtoemulatethembut itisimpossible.Myhandistooconscious,itlacks freedom.

Hasyourartworkchangedyourrelationship withthenaturalworld?

IammyhappiestwhenIamoutdoorsevenin difficultweatheritmakesyouverypresent.The winddrawingsareagoodreasontobeinthat place.

StormBarrelMonday10thApril2023

ShippingForecast-57*43’14”N/7*10’9”W

Hebrides,Bailey.CyclonicWest4to6,becoming variable2to4later.Rough,occasionallymoderatein eachHebrides.Showers.Good,occasionallypoor.

Inkonpaper

Circularmountandlimewashboxframed. 57.5x57.5cm(framed)

StormBarrelFriday10thMarch2023

ShippingForecast-57*43’14”N/7*10’9”W Hebrides,Bailey.Cyclonic5to7,occasionally9in north.Moderateorrough,occasionallyveryrough later.Winteryshowers.Good,occasionallypoor.

Inkonpaper

Circularmountandlimewashboxframed. 57.5x57.5cm(framed)

StormBarrelSunday9thApril2023

ShippingForecast-57*43’14”N/7*10’9”W Hebrides,Bailey.South-east5or6increasing7or gale8becomingcyclonic5to7later.Rainattimes. Moderateorgood.Occasionallypoor.

Inkonpaper

Circularmountandlimewashboxframed. 57.5x57.7cm(framed)

RecentlyfeaturedinTheGuardian,TimeOut& MailOnSunday,Michelle(AKAMindLikeWater) hasdeliveredworkshops&performancesat eventssuchasBalanceFestival,Wanderlust, MindBodySpirit&AllAboutLoveFestival.She usesablendoftechniquesembracingsound, scent,lightingandnaturalbeautyaspartofher holisticapproach.Fascinatedbytheconnection betweensound,movementandnature,Michelle exploreshowmusichasplayedavitalpartin rituals,raisingconsciousnessandinducing alteredstatesofrealityforthousandsofyears.

ForTrace,Michellewillbeperformingaspartof aspeciallateopening.

Canyoutalkusthroughausualdayinyour practice?

MostdaysIworkfromtheSevenSisters Sanctuary,awellbeingstudioIsharewitha friendandbreathworkfacilitatorinNorth London.Mydaysvaryquiteabitfrom1:1 sessionsofferingsoundandmassagetherapies, togroupsoundeventsatthestudiooronline. Somedaysareforplanning,adminandevent creationandothersareformusiccreationand recording.Ispendtimepreparingandsettingup thestudioforeventsbycleansingthespaceand theinstruments.Testingthetechnicalsideof things,checkingmicrophonesandlevels, playingandsingingwiththeinstrumentsin meditation.Ialsospendafairamountoftime wateringtheplantsandlightingallthecandles. OtherdaysI’mdeliveringsessionsincorporate settingsorprivateevents.Ireallyenjoythe varietyandthedifferentaspectsofmywork.

Whendidyourstartworkingwithsound?

Istartedlearningmusicproduction22yearsago whichledtoproducingmusicforcontemporary danceaswellaselectronicmusicandyogaand meditationapps.Ibeganworkingwithsoundin atherapeuticwayin2018.

Howdoesyourworkasasoundtherapist, musician,artist&DJoverlaporcontrast?

Thereisplentyofoverlapandmusicinallits formscanbetherapeuticandhealingindifferent ways.WhenIamworkingwithsoundinahealing capacity,myintentionistocreateanourishing& nurturingsonicspacethatencouragesself exploration,selfconnectionandinspires insights.Andforthesoundtoenablestatesthat helpthereceivertorestorebalanceand harmonytotheirphysical&emotionalbodies.I alsoworkspecificallytosuittheclientsneedsin a1:1setting.

WhenIamDjingorperforming,myintentionis totakepeopleonanemotivejourney,to entertainandinspireselfexpressionthrough movement.

MichelleCade.PhotographybyBrennaDuncan

Whatistheconnectionbetweensound, movementandnaturethatyoufocuson?

Iamfascinatedwiththephenomenonof Cymatics,whichisthestudyofvisiblesound.

Cymaticsgiveusawaytoseewhatsoundlooks likeandalsowhatispotentiallyhappeninginour bodieswhenwelistentocoherentharmonious soundsversusdissonantchaoticsounds.

Wearemadeupofroughly70%watersoit'sno wondersoundcanaffectourinnerandouter beingsoprofoundly.Wearevibrationalbeings afterall.

Certainfrequenciescreateshapesinmattere.g. waterorsand,thatresemblethosefoundin naturesuchassnowflakes,shells,plantsand flowers,cells,treetrunks,tortoiseshells, cheetahsandleopards,ancientart….even planetaryorbitsshowsimilarpatterns.

It'smysteriouslyfascinatingandIbelievethat bringingmoreexposuretothisfieldofstudywill helptoeducateandencourageotherstouse soundandtheirvoiceasatoolforhealing.Iam currentlyexperimentingwithmyownDIY Cymaticssetupusingwater.

Yourtechniquesblendsenses,arethere certainthingsthatyoulookoutforinanew site,likeOmVed,beforeaperformance?

Theenergy,ambienceandatmosphereofa spacecanreallyimpactthekindofexperience someonehaswhentheylistentomusicorattend asoundmeditation.Ibelievetheaesthetics, lighting,temperatureandscentgoalongwayto enhancetheexperience.Asaplantandnature lover,Omvedtickedallmyboxesassomewhere Iwouldbehonouredtosharemywork.

“Theinstinctiveemotionalresponsetothe processofgrowth,repetition,duality,aconstant pushandpullbetweentheoppositesoforder andchaos,plannedandspontaneous,perfect andimperfectareideasthatdrivemycreativity. Havingabackgroundinarchitecture,the appreciationofsurroundingenvironmentisthe startingpointofeverypiece.Theirdesignis definedbyasetofguidingprinciplesanda processofresponse,carefullycuratinga conversationwiththespacethatsurroundsthem. Itisabouthowthepiecesanswertotheir environmentaswellasthematerialtheyare createdfromratherthanhowtheylookontheir ownanditisdesigningwithvoidsandshadows asmuchaswithmaterialelements.”

“Whatstartedmyexplorationinclaywasits honesty,tactilityandvulnerability.Through workingwithitIbegantostartwonderingabout whatcreatesanemotionalhumanconnection andwhatisitthatmakesushuman.Weareall basedonalgorithmicDNA,thesamein principle,yeteveryoneisuniquewiththe additionofunpredictableandspontaneous eventsthatshapeustowhoweare.”

“Thisinnateclashofalgorithmicandchaoticthat wefeelinstinctivelywithinus,theever-present dualityismyconstantcuriosity.Ialsostriveto preserveinmypiecesthatsenseofvulnerability andhumanconnectionthroughleavinginitmy marks,gesturesandfingerprints.”

“Myworkismadeentirelybyhandinunglazed porcelainwithdelicatemetaldetails.Idevelop additiveprocessesofaccumulationofgestures, materialsandelementsandthencreateaseries ofpiecesthroughthesameprocess,butwith eachbeingcompletelyunique,thoughdifferent materialresponseandslightvariationof gestures.Puttingthosepiecestogethercreatesa conversationbetweenthememphasizing simultaneouslytheirsimilaritiesintheir differencesanddifferencesintheirsimilarities.”

UlaSaniawaofUnit89isanaward-winning ceramicartistbasedinLondon.

TraceElements(WallInstallation)

Porcelain

Alargeinstallation(h.110cmxw.244cm)madeof4individualinstallations(h.110cmxw.61cm)

Canyoutalkusthroughausualdayinyour studio?

Everydayinthestudioisalittledifferent,but theyallstartabout9amwithacoffee.What followsisacombinationofmaking,assembly, design,researchandexperimentationandevery dayconsistsofdifferentproportionsofthose aspects.

Somedaysarespentrepetitivelymakingtensor hundredsofindividualelementsandsome wouldbeassemblingthemintocompositions, makingslightchanges,steppingbackand evaluating,repeatingeveryfewminutesuntilthe compositionfeelsright.

Whenmaking,Iusuallyalsogetideasfornew pieces,elementsortechniques,soImight sometimestakeasmallbreakduringthedayifI cantotestandplayaroundtoseeifthatwould beapathworthlookinginto.

Teamlunchisanotherritualthinginthestudio whichwehavewithmyassistants.Afterwardswe reviewandcontinuewithourtasks.Myassistants finishabout6pm,howeverIamanaturalnight owlandfeelmostinspiredworkinglateevening, sothat’swhenalotofideasgetdeveloped, mostdaysIfinishaboutmidnight.

Whendidyoufirststartworkinginclay?

Myfirstencounterwithclaywasduringmylast yearofthearchitecturedegreewhen,looking forother,moretangiblecreativeoutletthanjust workinginfrontofthecomputerscreenand encouragedtotakeupsomethingthatIwould enjoyfailingattocombatmydebilitating perfectionism,Ihavesignedupforanevening potterycourse.Workingwithclayhastaught meaboutmyselfmorethanIcouldhaveever imagined.Itopenedmyeyestoseeingbeauty inimperfection,calmedmymindthrough repetitiveprocessesandtaughtmecourageto takerisks,experimentandacceptfailure becauseyoucan’tfullycontrolwhatcomesout ofthekilnandallofthisexperiencepermeated myentirelife.

What’sbeenthemostpivotalmomentin yourworksofar?

Ifeelthatmypracticeisconstantlymovingto new,unexploredplacesandthepivotal momentscomeacoupleoftimesayear, howeverthefirstonewasacompletionofmy firstlargescalehanginginstallationpiecein RokaAldwychrestaurantin2019.Itwasthefirst project,whereIcouldmergemyarchitecture andceramicbackgroundandtheonethat propelledmeintoanew,large-scaledirection.

WhatinspiredyournewElementsseries?

Itisanevolutionandprogressionofthe elementsIhavepreviouslyworkedwithaswell asanexplorationofconvergenceofdifferent formsandscales,creatingopportunityforanew compositiondynamic.

Theelementscontinuetoexplorethedualityof forcesrulingthenaturalworld-the mathematicalpatternswithchanceandchaos.

Yourprocessinvolvesbothstructured repetitionandexpressiveintuition,whatare youthinkingaboutasyouwork?Doyoulisten tomusic?

Yes,that’strueandI’mgladitcomesacross becauseitistheexpressionofhowmymind works.Yes,Idousuallylistentomusicora podcastorifI’mlateinthestudio,Ilistentoa netfixshowthatIalreadyknowwell,becausein awayittransportsmeintoanotherplace.My mindcanrunamillionmilesperhour,so sometimesithelpstolistentosomethingto quietitdownandtheninthisspace,I’mableto analysemyideasorthinkofnewones.During therepetitivemakingprocessIcangetintoa stateofflow,whichfeelsverymeditativeand bringsalotofreflection,howeverwhencreating acomposition,Iamcompletelyfocusedonthe interactionsbetweenelementsandam constantlyassessingwhethertheelementsIam abouttointroduceisarightfit,scale,shape, orientation…itishundredsoflittledecisionsan houranditisutterlyconsuming.

Howdoyoudecidewhenapieceworks? Whatareyoulookingforinafinal composition?

Equilibrium,afeelingofbalance…itishardto describewhatneedstobedonetoarrivethere, itisjustatrustintheprocessandcareful observationofwhatemergesthenresponding toit.Whenapieceiscompleteitfeelsasifit becomesitsownindividualentityandis repellinganyfurtherintervention.Itistranquil.

Manyviewsof TraceElements(HangingKineticSculpture)

Porcelainandwire

H.150cm(fromtopofwiretolowestelement)

SolPoloisacurator,writerandprojectmanager atOmVedGardens.Herprojectsareinspiredby theinterconnectednessoftheworld,byhowit manifeststhroughnature’swebandhow creativitycanbeapowerfultooltobring positiveecologicalandsocialchange.Having exploredtherelationsbetweendifferent creativedisciplinesinthepast,sheisnow dedicatedtohighlightingtheirintricate connectionswithourwildoriginsandtheneed tofosteramoreconsciousandrespectful relationshipwithourenvironment.

IndialoguewithThrownandMetafleur,Solhas curatedtheTRACEprogrammeofevents.

Solwillalsobehostinganeventaspartofthe programme,givingatourofOmVedGardens throughthelensofartists,philosophers, botanists,economistsanddesigners.

Canyoutalkusthroughyourusualdayasa curatorandprojectmanageratOmVed Gardens?

Dependsontheseason,butroughlyitstartswith replyingtoemailsonprojectproposals,current anddevelopingprojects,andthenitisfollowed bysomeresearchtogiveshapetosuchprojects, togetherwithdraftingprojectplansand presentationstodiscusswiththeteam.Allof theseofteninvolvemeetingwithartistsand contributorswhichisalwaysexciting.

rDidyourfocusonlinksbetweenecologyand differentcreativeformsleadyoutoOmVed ordevelopthroughyourworkthere?

ItledmetoOmVedandmyworktherehasbeen anopportunitytodevelopit.I'vealwaysbeen interestedintheinterconnectionsofdifferent disciplines,butmyinterestinecologystarted whenImovedtoLondontodomyMAin CuratingatGoldsmiths,in2015.Londonisavery greencitycomparedtomyhometown, Barcelona,andlivingheremademebecome muchmoreawareoftheweather,theclimate, thelandscapeandtoreflectonmyposition withinthat,andmyresponsibilitytowardsthat.I wasalsolookingtofindmoreofafocusformy practiceasacurator,andalsoabitofpurpose.I realisedtacklingclimateandecologywasthe mostrelevantaspectofourtimesandsomething thatwillneedourvoicesandourworkinevery front:fromcurating,todesigning,tocooking,to living,etc.

SolPolobyWillHearleatOmVedGardens

Imageonnextpage:NasturtiumsbyWillHearleatOmVedGardens

Yourprojectscomeinmanyforms,from exhibitiontoessaystocourses,what’sbeen oneofyourhighlights?

Ifindithardtochoose,asitisthevarietyof approaches,whatIenjoythemost,incurating andinlife.Iloveputtingsmallbutmeaningful eventson,whereyoucanfeelasenseof communityandcommunionintheair,likea conversationwithauthorAliceVincentIcurated andchairedrecentlyatthegardensaroundher latestbook"WhyWomenGrow"ortheOmVed TourIwillbegiving,exploringthegardens throughthelensofartists,philosophers, botanists,economistsanddesigners.Ialso deeplyenjoymeetingartistsandcreatorsand writingabouttheirwork.Curatingthe"Saving Seed"DisplayandPavilionforChelseaFlower Showlastyearwasalsoahighlight,super challengingbutalsoverysatisfyingtoseecome tolife.

Theeventsprogrammethatyou’vecurated forTraceincludessomanydifferentskillsand expertise,howdoyoufindthepeoplethat youbringtogetherwithyourprojects?

IhaveapoolofpeopleandprojectsIfollowbut Iamalwaysveryopentodiscoveringnew projects,soIalwaystrytoinvolvetherestofthe teamwhenaprojectstartstotakeshape,andask themforrecommendations.Ialsoreceivelotsof proposalsthatIlovetoconsiderwheneverthey seemtofit.

Youalsoteachcuration,whatisthemain pieceofadviceyougivestudents?

Ithinkthemostimportantadviceistobeopen. Opentodiscoverstuff,opentobecritical,open tochangeformats,toinnovate,tomakethings differently,andopentothevarietyofskillsthat theprofessionrequires.Andperhapsalsoto havefun:curatingisoftenregardedasor expectedtobeveryseriousandacademicbutI seeitmoreasanopportunitytoengagewith peoplefromallwalksoflife,soIthinkitshould bemoreaboutconnectingandlessaboutgiving lessons.

TimMartin

TimMartinisaLondon-basedceramicist.With degreesinArchitectureandDesignStudiesfrom SydneyUniversityandtheUniversityofNew SouthWales,Australia,Timalsogaineda diplomaofceramicsfromCityLit,London,in 2019.

Tim’sworkdrawsonhisarchitectural backgroundandaloveof20thCentury minimalistmodernistartistssuchasArp,Miró, Brâncusi,EllsworthKelly,inspiringareductive approachtohismaking.

Hisworkdistillslandscapes,figuresandnatural objectstotheirsimplestforms.Theyaimtopush anemotionalresponse-amemory,ahuman pose,anexoticgarden,ahintofsomething familiar,yetenigmatic,ambiguous.

Thesculpturessuggestalayeredandgraphic aesthetic,oftenplayingoffeachotheras assemblages.

In2019,oncompletinghisceramicsdiploma, TimwasshortlistedfortheNewDesigners DesigneroftheYearawardaswellasselected forFreshattheBritishCeramicsBiennial.

Timhassubsequentlyshowninsoloandgroup exhibitionsandawardedthreeinternational residencies:theInternationalCeramicsStudio atKecskemét,Hungary,March-June2020,the GuldagergaardResidencyattheInternational CeramicResearchCenter,Denmarkalsoin2020 andtheJCIInternationalResearchResidencyat JingdezhenCeramicInstitute,Chinain2021.

HiscollectionforTracehasbeencreatedwhile onasecondresidencyatGuldagergaard InternationalCeramicResearchCenter.

MovementAbstract3

Danishmodelleringmasseclay

SculptureSize:32cmx18.5cmx7cm

PlinthSize:19cmx19cmx9cm

MovementAbstract1

Danishmodelleringmasseclay

SculptureSize:33cmx34cmx8cm

PlinthSize:21cmx44cmx9.5cm

MovementAbstract2

Danishmodelleringmasseclay

SculptureSize:27cmx39cmx9cm

PlinthSize:10cmx49cmx10cm

Canyoutalkusthroughausualdayinyour studio?

Aceramicstudiousuallyhasseveralpieceson thegowithanumberofdifferentprocessesto lookafterduringeachday-Idoloadsof building,andonotherdaysglazingandfiringat differenttemperatures.There’salwaysatoggle betweendryingthings,keepingthingswet, coveringthings,andexposingothers…claybasedareasandcleanareasfornon-dustwork. Lotsofcleaning!Soeachdayisprettyvaried.

Whatfirstdrewyoutoclay?

Architectureisamaterial-basedtrade,whether you’redesigningconceptsorprojectmanaging jobs-buildingsandinteriorsarehugelyabout puttingdifferentmaterialstogether,aswellas aestheticsandform-baseddecisions:texture, strengthanddurability,colour,spatial arrangement,etc.So,forme,thesegueinto buildingwithceramicswasintuitiveandnatural. Particularlyhandbuilding.Clayisearthand mineralsandwaterandair-allbasematerials andelements-itwaseasyformetofeelan instantconnection.Butthebiggestconnection withdoingwhatIdowasthefactthatI’m makingart-myowninterpretationoftheworld throughanartisticlens-andclayisreallyin servicetothat.

What’sbeenthebiggestpivotalmomentin yourpracticesofar?

Bigpictureansweris…gettingworkoutinthe worldanddiscussingit.Ireallywantmeasan artisttobepartofthelargerartconversation. Theotherpivotalmomentshavebeenbeing partoflong-termceramicresidenciesoverseas: thisallowedmetobeutterlyfocusedingetting mypracticetogrowconceptually.

Whatareyourmainsourcesofinspiration?

Everythingaroundmethatgivesmeavisual buzz:fashion,formsindesign,photography, sculptureandbuildingdetails,natural formations…littledetailsinthesmallestand largestofthingsaroundus.

Conceptually,I’velovedminimalistartistssinceI wasjustalittleboy-particularlythemore ‘organic’artists-Arp,Miro,Brancusi,Noguchi, aswellasElsworthKellyandotherAmerican mid-centurymodernists.

Howdoesthinkingaboutexhibitinginthe gardenchangeyourapproachtoyourwork?

Itmakessensethatanyworkyouplaceina contextlikeagardenshouldrespondtobeing there.Maybeitsformisreflectingthenatural thingsaroundit,orcoloursandtexturesplayoff thoseoftheplants.Heightisalsoimportantstackingorbuildinguponplinthstointegrateor makeafeature,agoaltowalktowards.

Yourclay,glazesandtheblocksyousiteyour workonarealwayssobeautifullyconsidered, atwhatpointdothesematerialdecisions comeintoyourprocess?

Theyareconsideredalongtheway-Irarelywork outtheglazetypeorcolourbeforehand,some claysdon’twanttobeglazedinanycase.Ilove placingworkonplinthsandblocksbecause suddenlytheybecomepartoftheworkitself.I havemanylyingaroundtotryout,andthe pairingbecomesobviousafterswappingafew around.Thentheworkfeelsfinished.

Branch

Pearlescentglazesonwhitestoneware SculptureSize:25cmx21cmx5cm PlinthSize:16cmx9.5cmx9.5cm

Pearlescentglazesonwhitestoneware SculptureSize:25cmx25cmx5cm PlinthSize:15cmx15cmx6.5cm

FigureonPlinth

WillHearleisaphotographer,producerand directorwhoworksacrossseveralfieldsfrom musicphotographytocommercialfilm production.HeisamemberofForestStudio,a boutiquecreativestudiobasedineastLondon, aswellasOmVed’sin-housephotographer.

ForTrace,Willwillcapturetheexhibitionin photoandvideoaswellashostaworkshopwith afocusoncapturing'artinspace',inviting attendeestocapturethebeautifulartworkfrom theexhibitionandhowitdialogueswiththe naturethatsurroundsit.

Canyoutalkusthroughausualdayas OmVed'sin-housephotographer?

UsuallyIwouldbeworkingcloselywithother membersoftheteam,whetheritsVickyinthe garden,Jointhekitchenorsomeoneelse. Togetherweworktohighlightanyinteresting practices-frompermacultureorpreservingthatwedoatOmved.Forme,itsabouttelling thestoryclearly,succinctlyandaesthetically.

Whendidyoufirstbecomeinterestedin photography?

About4Yearsago,Itookupphotographyasa waytodealwithanxiety.IfIeverfeltaimlessor anurgethatIshouldbedoingsomethingI wouldgrabmycameraandgoforawalk.Iwas drawntothewaysinwhichnaturewouldquietly emergeintheurbansphere.Photography makesyounoticethelittleinstantsofinterest goingonaroundyouatalltimes.

WillHearle/OmVedGardens

Whatisthemostimportantelementagreat pictureneedsinyouropinion?

Formeit'sallaboutdepth,Iloveworkingto createlayersinanimagetomakeitappear3D. Andofcourselight,goodlightingmakesan image.

Whatisthepictureyouaremostproudof fromyourOmVedcollection?

That'satoughone,thelightintheglasshouse canlenditselftosomestunningimages.Butit hastobetheworkIdidforWTLFmagazine photographingrootvegetables.Theteamwere allsotalentedandtogetherwemadesomething Iamveryproudof.

Youmakelovelyfilmsaswellasphotography, howdoesyourworkasphotographerand filmmakeratOmVedrelatetotheworkyou dooutsideofthegardens?

Itrelatesinsomanyways,Iamalwaysinspired byOmvedasaneverchanginggarden-the transientlandscapeandvividfloralsarefullof ideas.Ontopofthattheteamareconstantly bringamazingart,podcasts,books,newsstories tothetable-itsavibrantplacetowork.

BostalBottom,SussexDownland Ceramic 14x23x22cm

TRACE

Bothasanounandasaverb,thewordtrace deeplyresonateswithOmVed.Asanoun,trace indicatestheexistenceorpassingofsomething, andourgardensarefulloftraces:tracesofthe existenceofournon-humankinforwhom OmVedistheirhabitat,tracesofthepassingof timeandtheseasons,andalsotracesofthe activitieswecarryatthegardens.Tracecanalso refertoaverysmallquantity,especiallyonetoo smalltobeaccuratelymeasured.Allliving beingsleavetraces,butwefeelhumanbeings arecurrentlyleavingtoomuchofatrace,and moreofapermanentanddangerousmarkon theplanet.

Thankfully,awayoutofthiscanbefoundinthe definitionsoftraceasaverb.Totraceistofind ortodiscoverbyinvestigation,somethingto whichweareindebtedwithourgrowing, preserving,savingseed,supportingbiodiversity andfosteringcreativityactivities.Totraceisalso tocopybydrawingoversomethingwithapiece oftransparentpaper,andthisissomethingwe liketodometaphorically,bydrawinginspiration fromnature’swiseways,colours,formsand cyclestofindmorebalanceandharmonyinour everydaylivesandenvironment.

SolPolo CuratorandProjectManager,OmVedGardens

Tracinganewrelationshipwiththeland

Metafleurisasustainablefloralartanddesign studiofoundedbyAliceMcCabeandbasedin London,creatinglarge-scalefloralinstallations andlivinglandscapesforeventsandfilms, alongsidedriedfloralartforexhibitions.

MetafleurisownedandmanagedbyAlice McCabeamulti-mediaartistwhocreatesfloral installations,paintingsandperformancesoften withforagedandfoundmaterialsofan ephemeralnature.Alicehasworkedwithflowers forovertwentyyears,havingtrainedand workedinfloristryshopsandstudiedwiththe RoyalHorticulturalSocietyalongsidepursuing hercareerasanartist.ShestudiedFineArt PaintingattheUniversityofBrightonand completedanMAinArtsEducationand CurationfromtheZurichUniversityoftheArtsin 2014.ShesetupAliceMcCabeFlowers combiningherartandfloristrypracticesin2016 andMetafleurin2020focussingonlarge-scale installationscommittingtosustainablyled designpracticesandactivelyrethinkingwhatthe futureofflowers,livingplantanddriedmaterial installation.Metafleuraimstobringfloristryand regenerativeandeco-designpracticestogether.

www.metafleur.com

OmVedGardensisagreenscape,exhibitionand educationspaceinnorthLondonregenerating ourrelationshipwiththeland,withfoodand withourhumanandmorethanhumankindemonstratingtheimpactaregenerative approachcanhaveinanurbancontext,butalso onourhealth,societyandplanetasawhole.

Workingwithartists,architects,chefs,musicians, horticulturalistsorlocalschools,OmVed Gardensnurturesdiscussion,reflectionand collaborationaroundthetopicsoffood, creativityandecologicaltransformationthrough avariedprogrammetakingplacebothonline andinpersonatthegardens.OmVedhas successfullyinitiatedanumberofprojectsto activatecommunitiesaroundgrowing,seed saving,composting,preservingandcreating withnature,andregularlysharesinsightsintoa collectivejourneytorediscoverourselveswithin nature.

EstablishedinLondonin2018,Thrownisan onlineandpop-upgalleryspecialisingincraft. Thegallerypridesitselfonengagingand accessiblecurationthatshowcasesexceptional artanddesigninallitsforms,aimingtodraw linksandquestionboundariesbetweenprocess, formandfunction.

Throughaprogrammeofexhibitions,Thrown representsinternationallyacclaimednames alongsideemergingtalent,providingamuchneededplatformformakersfindingtheir identityasartists.

ThegallerywassetupbygallerydirectorClaire Pearcewhohasbeenworkingingalleriessince graduatingfromadegreeinArchitecturein 2010.FiveyearsspentinStIves,Cornwall,first introducedhertoceramicsasanartform,which hasbeenapassioneversince.

www.omvedgardens.com

www.throwncontemporary.co.uk