The persistence of impressions

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If I can find a unifying theme for these last months’ travels it is stone.  Red stone outcrops carved to make rock houses on Kinver Edge and cut through by the canal which I followed. Cotswold stones from cool blue grey to sunset orange in the walls of Tewkesbury Abbey. Massive columns of golden stone in Greek temples, fine stone fragments in Roman mosaics, and freshly spewed black lava on the slopes of Mount Etna. And these earth colours and … Read More

Painting is like toddler talk

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I heard a toddler the other day copying his parents’ talking but making no sense.  Blah, blah, b’blah, blah, he said.  He couldn’t understand what he heard, but he copied the sounds because he just had to join in.  One day it will all fall into place, imperceptibly. He will understand, and his blah blah will make sense. Sometimes I feel that way about painting. I’m making marks and they look like marks that I’ve seen others make, but I … Read More

“create something as living as nature, so that it itself may continue to live.”

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The artist, Matthew Smith (1879-1959) studied under Henri Matisse in Paris. Matisse encouraged him to intensify his vision of the natural world. The result, he said, was not a conventional description of nature, but an attempt to….”create something as living as nature, so that it itself may continue to live.” I want to create surfaces that have the energy and life of natural surfaces that become as fascinating and infinitely explorable as the natural world. follow Grant’s art blog

With painting, you just never know

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I always turn to the writings of artist Sean Sculley when I want inspiration and insight.  Here, from his selected writings, is a reminder that with painting you never know how things will go.  So get into the studio, pick up a brush and make marks.

Why purple doesn’t exist

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The colour purple does not exist in the real world. Apparently it’s true. A rainbow of light from red to violet floods our surroundings, but there is no such thing as purple light. Purple only exists in our heads. I got fascinated by what I found in exploring this purple puzzle, so I thought I’d share it …

the mist of familiarity

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In 1819 Percy Bysshe Shelley wrote, “the mist of familiarity obscures from us the wonder of our being.” Is the role of the artist to commit themselves to peering through the mist and to re-present the familiar in a way that rekindles wonder? follow Grant’s art blog  

coincidence – pierced forms

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Isn’t the web a feast of coincidence.  A ring carved from bamboo by Kevin Woolgar @kevinwoolgar, a photographer in Puerto Rico, and a ceramic sculpture by Matt Sherratt @sculpturalforms working in North Wales arrived via email and the Maker in Wales facebook page today.

300 years in the making

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Last Saturday saw a significant celebration – the unveiling of the first piece completed at the Pembrokeshire workshop. It had only taken 300 years to make.

Land, sea and light video

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Here’s a video about  Land, Sea and Light  – this is the beginning of a project to create a collection of fine furniture inspired by a stretch of the most beautiful coastline on the St Davids peninsula in Pembrokeshire.

Boxes as Sorbet

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Boxes are a sorbet for the furniture maker – they refresh the palate between heavier and more complex pieces.  But they are also a reminder of the fundamental qualities of wood which make it a unique and living medium.

Goodbye, Table. I will remember your making

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It would be easy to think, looking at a calm and refined piece of furniture, that the experience of making it is equally calm and refined – a relaxed and measured series of steps that takes you from timber to table. Oh how wrong! What you see is the serene swimming swan, while under the surface…….

Clay, wood and beauty 3

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If you’ve been reading the recent posts you’ll know that I’ve been thinking about the relationship between woodworking and ceramics, both from the practical point of view – thinking about how they complement one another and how to combine them, and from the point of view of process – wondering what is the equivalent in wood of the chance events that happen in a kiln and give the pot its vitality.

clay, wood and beauty: 2

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Paul Bradley – the maker of the pot in the previous post  – pointed me at the work of Edmund de Waal.  It’s interesting what he is saying in this video about his Japanese influences and you can see clearly how he is now very much working with ceramics in context.  No wood in sight, just painted MDF, but I can see the potential.

clay, wood and beauty

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I think there’s a great affinity between ceramics and wood. I treated myself after a recent commission to this beautiful piece by local potter, Paul Bradley.  It’s very refined and yet has a natural coarseness to the surface and obviously a seed-like inspiration to the form; a combination of the natural and refined that I aspire to in my own work.

Furniture and birdsong

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With all the wonderful bird song beginning again now and Spring feeling as if it must burst out soon, I have been thinking about birdsong as an inspiration for furniture.  In my past life I worked a lot with birdsong – made lots of programmes about it from it’s biology to its beauty.  So to incorporate it in my furniture would have a lovely continuity.

Furniture as sketch?

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Can a piece of furniture be a sketch? Or more specifically, can it have the immediacy and energy of a sketch? That’s what’s been on my mind. Sometimes I get frustrated by the precision of “fine furniture”… it seems so accurate and so flat. Where’s the life in it? I want to shout at it. To shake it. to get some reaction… not just perfect precision. We makers go on about how we are working with a living material, and … Read More