A L I S O N W E S T
C U R R E N T W O R K
K I R S T Y A D A M S
Kirsty Adam’s work is both functional and holds aesthetic meaning, retaining the spontaneity and delicacy intrinsic to making on the potters’ wheel. A Japanese comb tool is used to create and enhance the throwing lines. Her Icelandic collection is the culmination of a research trip to Iceland to express the ‘otherworldliness’ of the landscape.
Kirsty is an award-winning ceramicist currently working from her studio in Newcastle upon Tyne. She originally trained at Brighton Art College and then on the potters’ wheel in Japan. She has developed a personal approach to throwing on the wheel using porcelain clay, to produce unique pieces for the home.
Exhibitions and Events
Being Human
6th March - 19th April 2020
C U R R E N T W O R K
.jpg)
L I S A O M M A N N E Y
Lisa Ommanney is a London based ceramicist making functional and sculptural hand built pieces. She studied Fine Art at London Guildhall University.
Her overarching aesthetic is informed by the relationship between the human and natural worlds, the synergies and dissonance between the two. The coexistence of these worlds, and specifically the parallels between their visual languages - pattern and repetition, growth and decay - form the spectrum within which she works: rustic and organic forms, earthy tones, soulful objects that resonate with a sense of the human.
She has a strong interest in ancient and prehistoric ceramics from across the globe. Much of her work is built with rough, groggy clays, and she leaves traces of the making process on each piece. Alongside her preference for the rustic and the natural, she also enjoys precision work, designs that require a level of rigour, pushing the limits of handbuilding techniques.
Her latest collection 'RELIC: Imagined Artefacts of a Lost History' is a collection of imagined objects, simple forms in rich, earth-toned clay, hand built with basic tools, using techniques that haven’t changed for millennia. Relief motifs are carefully designed for each form, then cut by hand and painstakingly applied. A sense of the symbolic, unglazed clay like carved rock, hand smoothed surfaces with the trace of movement. A vernacular that feels specific and indigenous, but tethered to no place or time.