Currently showing Sculpture Room
The Sculpture Room
Currently we have the phenomenal precision of Jin Eui Kim’s optical illusory wheel-thrown, hand-painted pieces hanging on the wall alongside the organic forms of Matt Sherratt and Lauren Nauman (on the shelf) and Nicola Staglich’s wall reliefs.
JIN EUI KIM
“One of the top ten ceramicists you need to know”
Manchester Art Gallery and The National Museum (Wales) have both purchased his works recently for their permanent collections.
Exploration with tonal effects and spatial illusions by using gradient in tone, width of bands and interval between bands is Jin Eui’s passion that results in works that are both visually and intellectually challenging.
Jin has garnered critical acclaim since receiving his PhD in ceramics in 2012.
A recent Royal College of Art graduate, Lauren’s working process, although equally as delicate, could not be further away from Jin Eui Kim’s level of control, as each vessel is left to collapse and fold through their own volition, during the firing process.
This year House of Garden coined Lauren Nauman ‘a cutting-edge talent’.
Nauman’s cage-like designs were originally intended as a surface decoration with which she was experimenting while studying for her Masters in ceramics and glass, before she realised that they could stand as vessels in their own right. Working with the traditional industrial method of slip casting using plaster moulds, she makes straight cages of wet clay, which bend and curve into an entirely new incarnation when they are fired in the kiln.
Matt hand builds his sculptures with a mindfulness to the interplay of negative and positive shapes, creating a line for the eye to dance over. Lines which are further enhanced by the texture and colour of the finishes he uses.
A kind of bridge between sculpture and painting, Nicola Staglich’s reliefs are made of wood, which once painted, is cut into pieces and curved, layered and mounted into geometric or organic colour formations. Because of the physical structure of these pictorial reliefs, the light and shadow cast become as much of an active part of the work as the palette and the composition of forms.