The Evolution of British Studio Ceramics
British studio ceramics, defined by the artisanal efforts of individuals or small teams rather than large-scale production, boast a vibrant history that spans slightly over a century.
Alun Graves, a distinguished senior curator at London’s Victoria and Albert Museum (V&A), has compiled an insightful volume that showcases the museum’s extensive collection of studio ceramics accumulated through purchases and donations since the early 1900s.
This work builds on the pioneering research of Oliver Watson, Graves’s predecessor, who first explored this fascinating topic in depth in 1990.
Spotlighting Notable Artists
In this richly informative catalogue, Graves recounts how the V&A’s collection has evolved over the last thirty years, reflecting a substantial shift in how ceramics are regarded within the fine arts sphere.
A significant change in this edition is the decision to weave celebrated ceramic artists into the main catalogue rather than isolating their works in a separate section.
This approach allows the spotlight to shine on the contributions of luminaries like Barry Flanagan and John Piper as well as on newer works by contemporary artists such as Richard Deacon, Laura Ford, and Jesse Wine.
Graves adds another layer of intrigue to the catalogue by including remarkable pieces from the Omega Workshops, alongside works by renowned Bloomsbury Group artists like Duncan Grant and Vanessa Bell.
The collection features figurines from the 1920s and 30s crafted by prominent Chelsea potters, including Charles Vyse and his wife Nell, merging seamlessly with modern figurative art from artists like Philip Eglin, Claire Partington, and Rachel Kneebone.
Furthermore, the catalogue highlights innovative performances from contemporary artists Clare Twomey and Keith Harrison, illustrating the lively interchange between art and craft.
Reflections on the Future of Ceramics
Graves’s work extends beyond academic circles, captivating a wider audience.
The opening section features 149 stunning color plates arranged in a historical context, often displayed in striking double-page spreads that allow similar works to shine in a collective spotlight.
This visual treat is accompanied by an engaging essay by Graves that encapsulates the significant narratives that have influenced British ceramics over the past hundred years.
He discusses the inception of educational programs in ceramics, the rise of funding opportunities, and the growth of retail spaces, all of which contribute to the shifting identity of ceramics as a respected form of art.
Moreover, Graves delves into vital discussions regarding the classification of ceramics, pondering their status as art or craft and exploring the myriad forms they can take—be they thrown, coiled, hand-built, functional, sculptural, or abstract.
The 1980s were marked by intense debates surrounding these issues, and the landscape shifted dramatically with the groundbreaking work of Grayson Perry, who won the Turner Prize in 2003.
His achievement marked a pivotal moment, driving broader recognition of diverse ceramic expressions.
Artists began to integrate their ceramics into performative art events and group exhibitions, even blending them into architectural designs, an approach embraced by celebrated figures like Edmund de Waal, who has gained prominence for both his literary contributions and his pottery.
Today, British ceramics have not only gained entry into the mainstream but also display an impressive variety in both inspiration and form.
Graves’s catalogue beautifully illustrates the remarkable transformation that has unfolded since Watson’s original publication.
Traditional thrown vessels now coexist effortlessly with innovative creations designed to resonate with contemporary audiences, painting a vivid picture of how British studio ceramics continue to thrive and evolve.
Source: The art newspaper