Alison Britton & Jim Partridge: Cut and Run / Marsden Woo Gallery, London October 14 - November 15, 2014
Alison Britton has returned to making pots after a year of working on her book, Seeing Things, Collected Writing on Art, Craft and Design. (Occasional Papers, 2013)
Picking up the threads in the studio she has resolved to work with a basic simplicity, making a series of tall jars, painted white and black over the buff clay body. Her casual mode of slab building, the balanced irregularity of planes, columns, cut off cones, and facets, is still in play. Pouring slip, a loosely controlled process, continues to be important, as well as working with a brush.
Emma Woffenden continues to explore the figure and the fragmented body in her latest sculpture series, ‘Falling Hard’.
Using a variety of mixed materials including glass, jesmonite, polystyrene, clay and metal, Woffenden creates a discourse around the interconnectivity of the body as a physical and psychological site and the impact of what the body – whole or fragmentary – expresses. The influences of social structures and the dynamics of power relations on the individual imbue her sculpture with a palpable sense of internal conflict.
Sara Radstone describes her work as ‘a lifetime obsession with things that are overlooked or discarded’. Thoughts of archived objects and the traces or fragments of long redundant artefacts all haunt her work; they represent, as she puts it, the ‘frozen remains of what might have been.’
Kerry Jameson’s new sculptures have an emotional charge that is presented through a mix of narrative set pieces, tableaux and individual figures. Subjects include historical events and the exploits of folkloric and storybook characters. She derives inspiration from an equally eclectic range of sources, which include portrait paintings, the figures of British myth such as the Burryman and Wicker Man, the work of animator Ray Harryhausen, a fascination with the polychrome religious sculptures of 17th century Spain and the toy collections of the Bethnal Green Museum of Childhood. She explains: ‘A work starts with a thought or feeling, an undigested experience that needs to be worked through.’