19.01.22

I'm starting to think about what I'm gonna do with the chalice I want to make as apart of my 'St. Richard' and I began by researching other ceramic artists that had a different style to what I was previously doing. I found the work of Andrew Lord whos work has a lot of monochrome and organic elements which is something I like a lot. I want the chalice to have a rougher and more organic feel but I do want to reintroduce glaze to add a scared quality to the piece. I also looked at Norah Braden who created very minimal pieces and so happens used to teach at Chichester University which adds another element connection to Chichester with this piece. I want research archaeological examples of chalices to bring that historical element more into this piece.

Andrew Lord 'Untitled' 2004

Andrew Lord

In his evocative, cerebral ceramic objects, Andrew Lord brings physical form to intangible phenomena such as breathing, memories, and sunlight. Though he also produces drawings, bronzes, and mixed-media sculptures, clay is the primary material through which he explores his own body, the work of artists, thinkers, and authors he admires, and the places close to his heart. Gauguin’s ceramic works sparked his enduring fascination with this earthy medium, which he describes as “a sculptural material [that] reflects any physical gesture you can apply to it…It solidifies touch.” In earlier works, he foregrounded this physicality by tasting, biting, and squeezing clay into sensuous, semi-abstract forms. In more representational pieces, Lord pays homage to artists including Monet, Cézanne, Picasso, and Gauguin, who inspire him to refract his own vision of the world through art.

Norah Braden 'Deep Bowl on High Foot' 1930

Norah Braden

Norah Braden is one of the pioneer British women potters, she studied at the Central School of Arts and Crafts 1919-1921 and then went on to the Royal College of Art where she was recognised as a gifted student. Braden's output was small as she destroyed the majority of her work, keeping only the pieces that satisfied her. As a result examples of her work are very rare. She taught at Brighton and Camberwell Schools of Art until after WW2 and later at Bishop Otter College, Chichester.