About my work:

The procedures and intelligence of making hold my attention.

I delight in the relationships that spring and develop between objects as they stand together like elements of musical harmony. From the shadows that form between them to the implied movements across spaces, they dance.

An exploration of technical invention with origins in both studio and industrial spheres has resulted in handles fired separately, suspended, to be joined later. Such components extend formal and material possibilities and enliven my understanding of the porcelain I thought I knew so well. Objects now emerge, to challenge and enable fresh rhythms, different energies and spatial interactions. A final deceptive simplicity emerges.

Prue Venables 2016

“This work so artfully combines stillness and a sense of risk, of fragility. Sometimes it is a single object – a pierced ladle with a precariously long stem, perhaps, or a scoop with an elegant, daring, ribbon-like handle, that surprises and then calms, Then there are those seemingly arbitrary couplings or slightly perverse groupings that quietly and insistently demand a shift in our perception.                                                               Indeed they all were once, in the making process, exceedingly fragile; needing, before and during both bisque and high temperature reduction firing, to be propped up or supported upside down and fired on porcelain trays or setters: carefully, patiently, slowly, surely, crafted. But now, strong, dense, confident, beautiful – to be used, to be held.

I hope you see these pots when the sun is out. They quicken with light, The pale objects are softly luminous and translucent, while the dark aubergines and blacks glow satiny rich, their rims reflecting.”

Gwyn Hanssen Pigott, 2005