Newdigate’s canvas is clay, rendering his paintings globe-like. We look down into them, or are they perhaps extending out towards us? The porcelain has become a glass fishbowl for Newdigate’s microcosms, which are held tenderly, and most definitely magnified, by the crystalline smoothness of Ian Garrett’s forms.
There is a science to Garrett’s practice as he collects, sieves, dries and categorises each of the many clay types archived in the studio. No glazes are used. Contrasts in colour and texture are created through the combination of different clays and their surface treatment.
A story told a thousand times becomes tradition. Sometimes, a tradition is a story that does not need to be told. No longer in need of language, it comes embedded, embodied. It can be seen in the way Poswa makes a ceramic vessel.
Predominantly composed of white earthenware, Dahl’s work pays homage to form and symmetry before anything. A practice in pursuit of the form that is perfect and timeless…
