The Gallery of Everything is pleased to announce its summer exhibition: BOWLS, POTS, VESSELS, URNS, CREATURES, TABLES, LUMPS: an impromptu investigation into ceramic practices from the 18th to 21st centuries. Taking its inspiration from an imaginary Abyssinian poem, BOWLS, POTS, VESSELS, URNS, CREATURES, TABLES, LUMPS occupies the entire gallery space, assembling over a dozen artists and makers from across the dextrous divide. Anonymous works and archaeological fragments are contrasted with glazed Mississippi mud forms by George Ohr, aquatic containers by the Martin Brothers, collapsed photographic equipment by Alan Constable, and Japanese forest deities by Shinichi Sawada - each arranged upon...
The Gallery of Everything is pleased to announce its summer exhibition: BOWLS, POTS, VESSELS, URNS, CREATURES, TABLES, LUMPS: an impromptu investigation into ceramic practices from the 18th to 21st centuries. Taking its inspiration from an imaginary Abyssinian poem, BOWLS, POTS, VESSELS, URNS, CREATURES, TABLES, LUMPS
occupies the entire gallery space, assembling over a dozen artists and makers from across the dextrous divide.
Anonymous works and archaeological fragments are contrasted with glazed Mississippi mud forms by George Ohr, aquatic containers by the Martin Brothers, collapsed photographic equipment by Alan Constable, and Japanese forest deities by Shinichi Sawada - each arranged upon the elegant fabricated tabletops of potter, painter and poet, Matthew Lutz-Kinoy. So elusive is this tactile display that it will expand and contract throughout its life-cycle, meaning that the show on a Wednesday morning may not be the same as it is on a Sunday afternoon. How irritating, yet how perfect, for a world in which the greatest feats of clay-making are reduced to tulips and tea-time.
During the exhibition, films will be presented regularly in the gallery screening room, most notably, early episodes of Morph by Peter Lord and David Sproxton, and classic tales of repressed sexuality by surrealist Jan Švankmajer.
