{"id":298770,"date":"2025-06-17T10:50:39","date_gmt":"2025-06-17T10:50:39","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/slipped-contemporary-approaches-to-the-traditional-art-of-slipware\/"},"modified":"2025-06-17T10:50:39","modified_gmt":"2025-06-17T10:50:39","slug":"slipped-contemporary-approaches-to-the-traditional-art-of-slipware","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=298770","title":{"rendered":"Slipped | Contemporary approaches to the traditional art of slipware"},"content":{"rendered":"


\n<\/p>\n

\n\n\n\n\n
Our current selling exhibition Slipped<\/i> brings together three makers working with clay, all with contemporary approaches to the traditional art of slipware: Dylan Bowen, Doug Fitch and Nigel Lambert.<\/p>\n

We take a glimpse into the creative lives of the three artists and their ceramics as they talk about their influences, approaches to making, and thoughts behind the work on display for this exhibition.<\/p>\n

\n
\nIf you are able to visit our London ceramics gallery, you can see the pieces on display in our Emmanuel Cooper Gallery.\u00a0 For those who can’t visit, the full list and images of exhibition pieces can be seen here\u00a0http:\/\/cpaceramics.com\/ccc\/currentex<\/a>\u00a0. This post also includes a selection of photographs showing some of the ceramics from the exhibition.<\/div>\n

\nDylan Bowen<\/h2>\n

<\/a><\/td>\n<\/tr>\n

Dylan Bowen | Image: Ben Ramos<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

“At the moment I am interested in working with both clay and slip at the point of almost-collapse. Through the making and slipping process, there are a lot of changes \u2013 some planned, some just happen. ” Dylan Bowen 2019<\/i><\/p>\n

\n<\/h2>\n

\nContemporary Ceramics Centre:<\/span><\/b> <\/span>Why do you do what you do?<\/span><\/p>\n

<\/p>\n

\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Dylan Bowen | Large Jug<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Dylan Bowen:<\/span><\/b> To try and express myself ?\u00a0<\/div>\n

\nCCC:\u00a0<\/span><\/b>How did you first get involved in working with clay?\u00a0<\/span><\/p>\n

\nDB:\u00a0<\/span><\/b>I started young. It is the family business.\u00a0<\/p>\n

\nCCC:\u00a0<\/span><\/b>Are there new pieces or a new direction in your work that will be explored for this exhibition?\u00a0<\/span><\/p>\n

\nDB:\u00a0<\/span><\/b>Yes, I am aiming at combining various elements of my existing work. The functional and the more sculptural.<\/p>\n

\nCCC:<\/span>\u00a0<\/span><\/b>How do you work?<\/span><\/p>\n

\nDB: <\/span><\/b>\u00a0I work pretty quickly in series. 12 plates, then maybe some bottle shapes. Then spend some time working on new ideas. It depends what I need really, if I have a commission etc. I like variety.\u00a0<\/p>\n

\nCCC:\u00a0<\/span><\/b>How has your practice changed over time?\u00a0<\/span><\/p>\n

\nDB:\u00a0<\/span><\/b>I think it has. I don\u2019t think I make the same mistakes quite so often maybe. I try to eliminate things a little earlier.\u00a0<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Dylan Bowen | Small Plate\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nCCC:\u00a0<\/span><\/b>What images keep you company in the space where you work?\u00a0<\/span><\/p>\n

\nDB:\u00a0<\/span><\/b>There is not much wall space. I have old exhibition posters, cards etc I have a picture of Miro painting in his studio that makes me feel pretty good.\u00a0<\/span><\/p>\n

\nCCC:\u00a0<\/span><\/b>What was the first piece of art that really mattered to you?\u00a0<\/span><\/p>\n

\nDB:\u00a0<\/span><\/b>I think it was a piece of music. I used to play my Dad\u2019s old 45s all the time. Eddie Cochran was probably my favourite. \u201cSummertime Blues\u201d \u201cCut across Shorty\u201d \u201cSomething Else\u201d They have a precise genius to them. I always wanted to have that direct communication in my work. To get to what\u2019s really important, to plug straight in to the source. <\/p>\n


<\/span><\/b>
\nCCC:\u00a0<\/span><\/b>What role does the potter\/ceramist have in the 21st Century?\u00a0<\/span><\/div>\n

\nDB:\u00a0<\/span><\/b>Small but vital! to fight against homogenised blandness and boring lifeless tedium.<\/div>\n
\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Dylan Bowen | Cut Shape<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

\nCCC:\u00a0<\/span><\/b>How do you hope people experience your ceramics?\u00a0<\/span><\/p>\n

\nDB:\u00a0<\/span><\/b>I hope they bring some excitement maybe? some humour, some life.<\/p>\n

\nCCC:<\/span><\/b>\u00a0How does working with clay influence your life beyond the workshop?<\/span><\/p>\n

\nDB:\u00a0<\/span><\/b>I
\nam always thinking about my work. what\u2019s next, what\u2019s working, what do I need
\nto do. It\u2019s probably not a healthy influence.<\/p>\n<\/div>\n
\n<\/p>\n

\nDoug Fitch<\/b><\/h2>\n
\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Doug Fitch | Image: Kim Ayres<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\n“<\/b>My pots all refer back to a childhood experience in archaeology and draw their inspiration in form, material and decorative technique from traditional British pottery, which is reinterpreted in a contemporary fashion.\u00a0” Doug Fitch 2019<\/b><\/i><\/p>\n

\nContemporary Ceramics Centre:\u00a0<\/span><\/b>What themes or
\ntechniques will you be exploring through the show?<\/span><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Doug Fitch | Small Applique Swag and Sprig Jug, Honey<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nDoug Fitch:<\/span><\/b> I will be adopting various traditional slipware techniques,
\nexploring the manner in which a basic palette of materials can be used in
\ncombination, to maximum effect. Some pots will be decorated with a covering of
\na green, white or black slip, poured over surfaces of applied pellets and
\ncoils.<\/div>\n

\nCCC:\u00a0<\/span><\/b>What is your process
\nfor making these pieces? What parts of the process do you particularly embrace
\nor enjoy?<\/span><\/p>\n

\nDF:\u00a0<\/span><\/b>The work will all be wheel-thrown. The throwing lines on the surface of my pots are left to echo the speed of hand and wheel during the shaping
\nof the gritty clay, telling the story of the dynamic energy of their
\nmanufacture. Some pots are embellished with modelled birds, which are more
\ncaricature than literal interpretations.<\/p>\n

\nCCC:\u00a0<\/span><\/b>What inspires your
\nrecent work?<\/span><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Doug Fitch |\u00a0\u00a0Small Pellet Jug Green<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nDF:\u00a0<\/span><\/b>My pots all refer back to a childhood experience in
\narchaeology and draw their inspiration in form, material and decorative
\ntechnique from traditional British pottery, which is reinterpreted in a
\ncontemporary fashion. The natural world of the rural location of the workshop
\nthat I share with my wife, Hannah McAndrew, informs my pots every day, both in
\nterms of shape and composition of decorative application.<\/p>\n

CCC:\u00a0<\/span><\/b>How do you hope
\npeople experience your ceramics?<\/span><\/div>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Doug Fitch |\u00a0Sprig and Applique Mug<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nDF:\u00a0<\/span><\/b>I hope that people can get a sense of the pleasure and love
\nthat I enjoy in my life as a potter. The pots feel happy to me, I invest great
\npassion and energy into their creation. I hope that is transmitted to the
\nviewer. Because the pots have their roots in an ancient tradition, which is
\never-developing, I aim to make work that adds something of myself as a maker in
\nthe 21st century. This should enable the pieces to fit comfortably into an
\nancient or contemporary environment.<\/p>\n

\n<\/p>\n
\n

\nNigel Lambert<\/h2>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nigel Lambert | Image: Ben Boswell<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\n“I\u2019ve always been interested in the process of making pots,\u00a0<\/span>evidence of the maker being seen in the finished work, not in a forced deliberate way, but with the natural marks that the potter leaves in the throwing and handling of soft clay<\/span>.” Nigel Lambert 2019\u00a0<\/b><\/span><\/i><\/p>\n

\nContemporary Ceramics Centre:\u00a0<\/span><\/b>What themes or
\ntechniques will you be exploring through the show?<\/span><\/p>\n

\nNigel Lambert:\u00a0<\/b><\/span>It\u2019s sometimes difficult making work for exhibitions, as my
\nmaking has always been rooted in function, pots that are at home in a domestic
\nenvironment. Pots are mostly small and made in multiples, to try and distil all\u00a0my ideas and techniques into
\na few pieces to be displayed in an exhibition environment, is always a
\nchallenge. For
\nthis group of work I have been focusing on pieces that would be placed on the
\ntable on special occasions, a family gathering, a celebration with food<\/span>.<\/span><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nigel Lambert | Oval Store Jar<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nCCC:\u00a0<\/span><\/b>What is your process
\nfor making these pieces? What parts of the process do you particularly embrace
\nor enjoy?<\/span><\/p>\n

\nNL:\u00a0\u00a0<\/span><\/b>I will be making the work for this exhibition alongside the
\nregular production of my workshop. Life in the workshop is a slow steady
\nprocess, wedging all my clay, and throwing on my Korean\/Continental kick wheel
\nhybrid. Slabs for the handbuilt pieces are bashed out on a large concrete
\nbench. Although using traditional materials and processes, I use these in a
\ncontemporary way to develop and grow my practice. The work is fired in one of
\nmy two wood-fired kilns; a large 80 cuft trolly kiln and a small more versatile
\npheonix design kiln, which I fire more frequently. I see my work as a linear
\nprocess, from wedging the clay – through to throwing, slipping, glazing and
\nfiring; stoking the kiln taking on the same rhythm as throwing and decorating.
\nIt\u2019s about moving and thinking at the same pace.<\/p>\n

\nCCC:\u00a0<\/span><\/b>What inspires your
\nrecent work?<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nigel Lambert | Side Plate<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\nNL:\u00a0<\/span><\/b>I\u2019ve always been interested in the process of making pots, evidence of the
\nmaker being seen in the finished work, not in a forced deliberate way, but with
\nthe natural marks that the potter leaves in the throwing and handling of soft
\nclay<\/span>. This informs how I work. My inspiration comes from all I do in my
\ndaily life; the colours, the textures, the food growing in the garden, how I\u2019m
\ngoing to cook it, and the way I want the food to look when presented, a walk
\nthrough the city when I\u2019m in London. All these are filtered down into the pots
\nand painting I apply to the surface of the pieces.<\/span><\/p>\n

\nCCC:\u00a0<\/span><\/b>How do you hope
\npeople experience your ceramics?<\/span><\/p>\n

\nNL:\u00a0<\/span><\/b>I want to pass on the joy and excitement I feel when I\u2019m
\nmaking my work,\u00a0 through the pots when
\nthey are at the table. I see a pot as not quite complete until it is presented at
\nthe table filled with food, bringing everyone together<\/span>.<\/span><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
Nigel Lambert | Large Oval Jug<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
\n

Photographs(unless named): Dee Honeybun<\/p>\n

\nSlipped<\/h2>\n

\n25th July to 17th August 2019<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Our current selling exhibition Slipped brings together three makers working with clay, all with contemporary approaches to the traditional art of slipware: Dylan Bowen, Doug Fitch and Nigel Lambert. 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