How did you start out on this path? Did you always know this was what you wanted to be doing?

 

Both our backgrounds were very much involved in the creative side of life. (Andy originally a carpenter/Joiner and Karen from a fine art sculpture background.) Working and living together 24/7 has its challenges but we both share a passion for clay and our work evolved organically. Clay is the absolute perfect medium for us – forever learning and of course the very nature of working with clay makes us always humble!

Working and creating with our hands is part and parcel of who we are and neither of us can ever imagine any other life path!

 

How has your work evolved since you first started making?

 

When we first started our creative partnership in clay, over 10 years ago, we gave ourselves a parameter of working in the traditional medium of slipware using red earthenware clay. We have settled into our roles – Andy throwing and Karen illustrating the work using the sgraffito technique, a very time consuming and incredibly satisfying way of drawing. The work has become more adventurous and our approach to it more confident.

 

How do you approach studio time – get yourself into the right frame of mind for creating/making? Do you work better at certain times of the day?

 

To be honest we are always in the right frame of mind to work in the studio (obsessively). We feel fortunate that our studio is in our garden making the commute to work very enjoyable, overlooked by our lovely chatty rescue hens! There are never enough hours in the day and with no internet access in the studio distractions are kept to a minimum.

 

How do you challenge yourself within your work? Do you always see yourself working in this medium?

 

Working in the traditional medium of slipware is a constant challenge – so much can go wrong at every stage! It is with a mixed sense of relief, satisfaction and amazement when a piece turns out well! We are not large production potters but we strive to create original, beautiful and functional pottery. We cannot imagine ever doing anything else than working in the clay process…… quite honestly, we believe we will be doing this for as long as we are physically able!

 

What would/has been your ideal commission?

We had a commission for a large, lidded wedding pot about 8 years ago and we made 3…. just in case! The whole experience was a challenge and after two failed attempts we eventually produced a piece we were happy with. It is a very detailed pot with lots of drawn/sgraffito imagery pertinent to the couple. However, it now sits in our display cabinet due to the couple splitting up not long after their marriage! It is a pot with a story to tell!

 

 

We know that social media channels such as Instagram play a pivotal role now in giving a platform to artists. To what extent has it benefited you?

 

Do you think it’s possible for it to ever truly replace a traditional bricks and mortar gallery?

We would say Instagram has benefitted Adrift Pottery enormously. Through it our audience has exponentially grown worldwide and we send work to far reaching corners. It is a huge source of inspiration and encouragement; the pottery community within it is particularly supportive and that helps immensely when living and working in rural West Wales. However, we do have a love/hate relationship with it; it can simply be too overwhelming at times. Hence the fact we don’t have internet access in the studio!

As for social media replacing a traditional bricks & mortar building…. absolutely not! Ceramics and art both work best when physically seen and if possible touched. It would be a sad world indeed if the gallery environment disappeared.

 

Is there a recent exhibition that you have loved so much and encouraged everyone to go see?

 

We had the privilege to be invited to exhibit at Art at The Hall, Llangathen, Carmarthenshire, twice this year and it was a really well curated show. Both shows had a separate theme and lots of artists working in different mediums were exhibiting. It felt very exciting to be a part of it and in such an amazing venue. We were proud to encourage everyone to go see it; exhibits were grouped together and periodically moved around creating interesting juxtapositions. So many local talented artists, usually hidden away in West Wales, exhibiting together felt exciting and special.

 

What does the future hold for you and your work? Do you have any exciting plans for 2020?

 

Our work is constantly evolving, and we have many new ideas we plan to work through. One especially exciting plan for 2020 is to self-build a wood firing kiln behind our studio. We believe this will develop our work in many different directions and we can’t wait to get the project underway.

 

 

Anne attended art classes in New York and then returned to Britain to undertake a degree at Chelsea College of Art and Design. She then took a studio at Cockpit Arts in Holborn, London before moving to Eastbourne in 2004. Anne has exhibited at various shows in London and around England, and work has been commissioned to sell at The Jerwood Gallery, Emma Mason British Prints, Towner Gallery and Dulwich Picture Gallery.

There is an ‘Alfred Wallis’ feel to the sgraffito pieces featuring merchant ships, sailing boats, fishing trawlers and all things to do with the sea and coast. Rum cups, pedestal bowls, and jugs have hand painted boats and ships traversing stormy seas or sheltering in tree lined harbours. As each piece is handmade and painted they all have their own character.

 

Mizuyo Yamashita is a London based ceramicist . Born and raised in Japan she came to London in 2000.

“My work in ceramics ranges from small objects to installation, all of which are hand thrown or hand built. Although, recently my interest has been making tableware on the wheel as I love seeing the lump of clay changing its shape so dramatically.

I’m hoping my tableware makes the user’s everyday life a little more special.”

Born in Corfu Greece and working in Hackney for the past forty years Agalis Manessi’s work lies within the tradition of maiolica. It celebrates this rich historical medium through the diverse influences ranging from the sophistication of Italian Istoriato dishes through to the simplicity of humble folk wares.

Subject matter is derived from portraits, figures and animal studies drawn directly from life or inspired by characters from paintings in museum collections; a fusion of the observed and imagined She strives for a poetic mastery through pictorial representation with a freshness of palette that belies the difficulty of the process.

Her work is in many private collections and museums in the UK and abroad, and has been featured in several publications.

Kimono cat

 

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