Another trip down to Stoke, this time with the new first year MA students and to take in the British Ceramics Biennial exhibition I've heard so much but never been to. As we arrived a little ahead of time we managed to have a look around the gallery in the Visitor's Centre at the Spode factory.
The only other time I've been to the Spode factory was shortly after the factory closed and they were selling off their blue and white china. We inherited some and thought it may be nice to supplement it. Well, they are still selling part of it off.
I am still not sure whether I like this sort of dinnerware or not.
The Spode gallery had a good display of late 19th century handpainted tiles produced by Copeland in Stoke. They are a good reminded how patterns originating from Islamic architecture or Roman mosaics or Iznik tiles have heavily influenced the aesthetics or the late Victorian crafts and designs.
I was really taken by the pottery on display by Nick Marsh. In hindsight, it might also have been the way they were displayed that appealed to me: on shelves made from rough planks of wood or on fancy little pedestals.
The framed pottery collages made by Philip Hardeners was less to my taste. Maybe it is just that it reminded me a bit too much of public art. However, it was intriguing enough to make me stop and take look at them.
Well, this was a bit of warm up before we headed over to the main event, the British Ceramics Biennial Exhibition:
Well, this whole exhibition was a bit overwhelming. Initially, because it is spread across such a large space it didn't seem that there was much to see but that wasn't so. I will limit it to eight items/impressions:
1. The building itself was for me really the star of the show. I love derelict industrial buildings and this one retains lots of traces of its industrial past throughout.
2. I loved the pots and painting by Hannah Tounser in which she combines the inspirations of the British coastline with the colour palette and patina found in this Spode building. I particularly like how details, such as the small yellow/gold square is echoed both in the pot and the accompanying painting.