Diptych

Crown of Thorns

 

 

Burnt gorse mounted on board

 

2019 A Living Coast

an artwork celebrating NWT’s acquisition of land connecting the Cley and Salthouse marshes

 

…… In the Domesday Book of 1086, Salthouse is entered simply as ‘a house for the storing of salt.’  Long before this, salt was made by the then worldwide method of boiling sea water in clay vessels; Cley is Anglo-Saxon ‘claeg’ for clay.  It follows then that these two adjacent coastal settlements have connections going way back in time….

The clay (Cley) bowls of this work represent those bowls used historically to make the salt to be stored in the salt house.

 

Random Numbers

Holt Art Prize shortlist 2019

 

 

Opening of new Handa Gallery  – Wells Maltings  Summer 2018  

‘5 – 6 pick-up-sticks’

             gorse and heather roots mounted on chestnut   detail

 

 #We Two

#We 2 – I

bisque fired clay with cotton mounted on board        265 x 235 mm

#We 2 – II

bisque fired clay/cotton, nails, wood, mounted on board   300 x 295 mm

#We 2 – III

bisque fired clay with cotton – smoke fired – mounted on board    230 x 360 mm

Trilogy                      

 

 

 Birdline 2016-17

 

by kind permission of the Cley Visitor Centre, Norfolk Wildlife Trust, following the NNEP exhibition of Cley 16

 

 

 

 

 

 

‘Connectivity’ 2017

 

bisque fired white earthenware

This installation connects the two adjacent north Norfolk coastal villages of Salthouse and Cley.  The maquettes of clay vessels which make up this piece are based on Bronze Age pottery found in Neolithic barrows on Salthouse Heath. The small clay ‘temple’ model is a replica of those found in N.Europe in prehistoric times, thus linking the work to Cley church where it was installed in the west porch.

A Conversation with Materials – Cley 14

 

 

 

 

 

 

 

The Flight of the Spoonbill – Cley 13

 

 

 

 

The Art of Faith – Norwich Castle Museum

 

 

photograph Eric Smee

“This sculpture is one of three works made from gorse, gleaned from Salthouse heath after a serious fire. Each stem was carefully chosen to relate to the piece as a whole. In particular, although the gorse has been blackened by the fire, several stems have tiny, red, blood-like ‘veins’ running through them, offering the suggestion of rebirth. The hexagonal form in this piece has resulted in the central Star of David. The other two works form a diptych permanently housed in the Chancel of St Nicholas Church, Salthouse. Each work is striking in its simplicity and strongly redolent of place, containing several interpretative layers.   The Salthouse diptych was interpreted by the parishioners as representative of the Crown of Thorns, leading to its purchase by the church, the artist’s initial concept adopted by the local faith community.”

Dr Elizabeth Mellings (ART)

Landmark

 

Black Adder

woven sisal

Weaver Bird

 

 

woven sisal with crochet

 

 

 

 

 

little black dress

shortlisted Holt Art Prize 2012

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

woven hand dyed sisal and hand built ceramic figures

 

 

 

detail

 

 

 

 

Drawing from Life

Nicholson Gallery, Greshams School, Holt

November – December 2011

 

 

Drawings in charcoal from the life model: drawings in clay: some fired and some smoked:

some abstracted in to ‘prehistoric’ earth figures