My work focuses on the relationship between clay containers, to animate the space within and around them. I'm interested in the sensed presence and influence of one volume on another, and how a small intimate object can suggest something imense and immeasurable, extending beyond it's own material boundaries.
I use clay for it's ability to record very subtle decisions made during working with it, that accumulate as traces through the structure of the finished work, forming an unseen presence. Clay is able to maintain it's material integrity, whiles't not intruding on it's surroundings and it is this humble yet persistent presence that I respond to and hope to preserve in the work.
A simple geometric vocabulary is used to form material boundaries that define and measure, unbounded space. Concentrating on well defined parameters enables me to follow the nuances of each connection through placement and scale, becoming part of an intimate relationship that moves on to interact with broader and different environments. I'm not interested in one part announcing itself over another, more in forming a balanced tension, in which inside and outside, solid and void, both define and complete each other.
My work focuses on the relationship between clay containers, to animate the space within and around them. I'm interested in the sensed presence and influence of one volume on another, and how a small intimate object can suggest something imense and immeasurable, extending beyond it's own material boundaries.
I use clay for it's ability to record very subtle decisions made during working with it, that accumulate as traces through the structure of the finished work, forming an unseen presence. Clay is able to maintain it's material integrity, whiles't not intruding on it's surroundings and it is this humble yet persistent presence that I respond to and hope to preserve in the work.
A simple geometric vocabulary is used to form material boundaries that define and measure, unbounded space. Concentrating on well defined parameters enables me to follow the nuances of each connection through placement and scale, becoming part of an intimate relationship that moves on to interact with broader and different environments. I'm not interested in one part announcing itself over another, more in forming a balanced tension, in which inside and outside, solid and void, both define and complete each other.
c.v
name: jonathan phillips
address: pentrejack farm, brilley, whitney-on-wye, herefordshire, hr3 6js
phone: 01544 327 629
email: [email protected]
website: www.jgphillips.co.uk
education: 1997-1999 falmouth college of arts, ba (hons) studio ceramics
1994-1995 bretton hall college of arts, arts and education
work experience: 2000-2010 joint partner, designing and producing tableware for exclusive
retail outlets
1999-2000 production thrower at pembridge terracotta, herefordshire
1995-1996 studio assistant for potter pietro maddalena, certaldo,
florence, italy
exhibitions: 2015 - neo art prize exhibition 2015, bolton - mostyn open 19, llandudno, wales - spring exhibition, beardsmore gallery, london
2014 national eisteddfod open exhibition, llanelli, wales
2013 ceramics, beardsmore gallery, london
2012 london art fair, represented by the beardsmore gallery
2011 nordic art, cultural connections, henley-on-thames
2010 - shapes and surfaces, cultural connections,henley-on-thames
- recollect, burgh house, london
2009 - ceramic art london, royal college of art, london
- exhibition for 8 british artiasts, british consulate, chicago
2008 ceramic art london, royal college of art, london
awards: 2009 - arts council grant
- uk trade and industry award
