Born From Earth

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Open: Tue-Fri 10am-6pm, Sat 11am-5pm

41 Dover Street, W1S 4NS, London, UK
Open: Tue-Fri 10am-6pm, Sat 11am-5pm


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Born From Earth

to Sat 13 Aug 2022

41 Dover Street, W1S 4NS Born From Earth

Tue-Fri 10am-6pm, Sat 11am-5pm


Special events:
– Artist Talk with photographer Yushi Li. Thursday 7 July, 6.30pm–8pm. RSVP
– AA Public Programme ‘House of Tableau’, Saturday 16 July, 2pm–4pm. RSVP
– Student Exhibition ‘(if) the whole street is a House’, 21–23 July, 10am–6pm

Richard Saltoun Gallery presents an all-women group show bringing together ceramics by 11 contemporary artists, from pioneers of the medium to young artists who keep pushing it forward. The exhibition features a bespoke display designed by architect Lisa Chan, founder of London-based creative studio It’s a Local Collective, which will transform the gallery in an earthen landscape striking a dialogue between art and architecture. The display is realised with the support of Malin + Goetz.

Artworks

Six Erotic Cookies (in 10 parts), 1967

Sculpture: plastic bowl, glass and painted plaster. Two drawings: acrylic and ink on paper with wooden frame
Sculpture: 28.3 x 31.4 x 31.4 cm. Drawings: 35 x 35 cm each
Signed, dated, and titled on the drawings: 6 Erotic Cookies on an Edible Plate / Gerowitz '67. Signed with artist's initials and dated 'JG '67' (on the reverse of the ceramic elements) © the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Twelve folds of porcelain., 1973

Porcelain mounted on an acrylic sheet
63.5 x 63.5 cm (sheet)
Signed in catalogue by illustration of work © Estate of the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Cabinet, 1992

Plaster on wood and painted steel
171.4 x 30.4 x 44.7 cm
Inscribed 'LD' to plaster sculpture © the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Porcelain Dancer 1, 1973

Porcelain, enamel colours with gold and silver
22.9 x 17.8 x 2.5 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Porcelain Dancer 3, 1973

Porcelain, enamel colours with gold and silver
22.9 x 15.2 x 1.9 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Porcelain Dancer 4, 1973

Porcelain, enamel colours with gold and silver
22 x 11.5 x 3 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Untitled,

Ceramic
25.3 x 34 x 23 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Untitled,

Ceramic
25.4 x 23.1 x 23.1 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Untitled,

Ceramic
26.5 x 18.6 x 18.6 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Untitled, c. 1985

Glazed earthenware
35.6 x 66 x 17.8 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Untitled, c. 1985

Clay, slip and glaze
45.7 x 142.2 x 22.9 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Untitled, c. 1985

Clay, slip and glaze
55.9 x 43.2 x 16.5 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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It Unfurled Before My Eye, 2021

Stoneware
28 x 22 x 19 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Tucking In and Poking Out, 2021

Stoneware
26.5 x 19 x 18 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Dance for me, please, 2021

Stoneware
33 x 19 x 19.5 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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Sowing Seeds, 2021

Stoneware, epoxy resin
51 x 31 x 25 cm
© the Artist. Courtesy Richard Saltoun Gallery, London and Rome

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To accompany the exhibition, Chan and Chinese contemporary artist Yushi Li will deliver an educational programme of talks and events in collaboration with the Architectural Association, where they are both tutors. The aim is to explore possibilities and responsibilities of architectural practice while making the research process more accessible and inclusive.

From Rose English’s colourful porcelain dancers and Judy Chicago’s erotic cookies to Florence Peake’s materic sculptures and Shelagh Wakely’s delicate unfired clay installations, Ceramics is a celebration of the endless possibilities offered by this medium and how it can be shaped into radically different forms by the artists’ unique sensibilities.

Some of the artists in the exhibition pioneered the use of ceramics in art making. It’s the case of Belgian artist Jacqueline Poncelet (b. 1947), whose sculptural works in ceramics became associated with the New British Sculpture movement led by Tony Cragg, Richard Deacon (her husband), Anish Kapoor and Bill Woodrow. Ceramics includes three sculptures by Poncelet, which were all exhibited as part of the artist’s major solo show at the Whitechapel Art Gallery in 1985.

Belgian artist Carmen Dionyse (1921–2013) – shown for the first time in the UK – and British modernist sculptor Ruth Duckworth (1919–2009) also specialised in ceramics. In her practice, Dionyse responded with originality to ancient stories and cultural rites and rituals. She is known for her sculptural busts and masks that drew inspiration from and were sometimes named after Biblical and Greek mythological figures. Duckworth produced abstract works that defined new ways of thinking about ceramics in the second half of the 20th century, Carol McNicoll (b. 1943) was part of a radical group of artists that transformed the British ceramics scene in the late 1970s by re-establishing the vessel as an abstract form. Together they paved the way for a new generation of artists approaching ceramics with a fresh outlook, like Gaia Fugazza (b. 1985) and Holly Stevenson (b.1975). Stevenson has developed a figurative language of her own. Often using ovular forms to represent the female and cylindrical phallic shapes to represent the male, her surrealist vessels explore issues of gender and femininity.

Ceramics hold a central place in the multidisciplinary practice of feminist artists Florence Peake (b. 1973) and Judy Chicago (b.1939). Peake for example is mainly known for her performances exploring notions of materiality and physicality, but she often uses ceramics as props. On the other hand, Chicago’s most famous work, The Dinner Party (1974-1979), is a monumental triangular table with ceramics plates dedicated to notable women in history. Chicago’s Six Erotic Cookies (1967) on view at Richard Saltoun Gallery was part of her solo exhibition at the Brooklyn Museum’s Sackler Center for Feminist Art, New York, in 2014.

The bespoke exhibition design by Lisa Chan is an interactive space where art & architecture are in dialogue. A 13m long earthen landscape unfurls along the gallery as a poetic and immersive gesture guiding visitors through the exhibition. Made from natural earth and lime, the curated journey focuses on a biophilic design that eases visitors’ minds and enriches their wellbeing. The aggregate landscape playfully houses ceramics, earthen seats, and a table for conversations, research, and public events.

Courtesy Richard Saltoun Gallery, London and Rome


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