Meaning Behind Materiality:
London Craft Week 2021
For all sales enquiries please contact Cynthia Corbett, Gallery Founder & Director, email@example.com.
Please click here to register for the Zoom talk on 5 October with Gallerists Cynthia Valianti Corbett and Varuna Kollanethu of Ruup & Form, orchestrated by Curator & Collector Preston Fitzgerald, with the support of Association of Women Art Dealers (AWAD).
Matt Smith (British)After Gainsborough, 2021Reworked textile with wool
49 x 108 cm
19 1/4 x 42 1/2 in.
Matt Smith (British)After Gainsborough, 2018Black Parian21 x 30 x 13 cm
8 1/4 x 11 3/4 x 5 1/8 in.
Matt Smith (British)After Reynolds, 2020Reworked Textile with Wool48 x 38 cm
18 7/8 x 15 in.
Matt Smith (British)After Romney, 2021Reworked textile with wool
54 x 68 cm
21 1/4 x 26 3/4 in.
Albert MontserratBronze Dotted Jar, 2019Oil Spot and Glazed Thrown Porcelain53 x 54 x 54 cm
21.8 x 21 x 21 in
Albert MontserratGreen Urani Vessel, 2020Oil - Spot Glazed Thrown Porcelain43 x 35 x 35 cm
16 7/8 x 13 3/4 x 13 3/4 in.
Albert MontserratGolden Jar, 2020Oil Spot – Glazed Thrown Porcelain57 x 54 x 54 cm
22 1/2 x 21 1/4 x 21 1/4 in.
Albert MontserratCadmium Jar, 2020Porcelain; Textured Glazes on Thrown Porcelain54 x 55 x 55 cm
21 1/4 x 21 5/8 x 21 5/8 in.
Rafaela de AscanioGaia, 2021Underglaze and Glaze on Stoneware26 x 15 cm
10 1/4 x 5 7/8 in.
Matt Smith (British)The Grand Tourist, 2020White earthenware, underglaze colours and platinum lustre44 x 24 x 24 cm
17 3/8 x 9 1/2 x 9 1/2 in.
Matt Smith (British)Venus Wall sconce, 2021White Earthernware
62 x 28 x 13 cm
24 3/8 x 11 1/8 x 5 1/8 in.
Matt Smith (British)The Grand Tourest, 2020White earthenware, underglaze colours and platinum lustre44 x 24 x 24 cm
17 3/8 x 9 1/2 x 9 1/2 in.
Matt Smith (British)Pearl Girl Teal, 2021Black Parian, Porcelain and Freshwater Pearls
27 x 14 x 16 cm
10 5/8 x 5 1/2 x 6 1/4 in.
Matt Smith (British)Horse, 2018Black Parian18 x 30 x 13 cm
7 1/8 x 11 3/4 x 5 1/8 in.
Matt Smith (British)Red Girl with Pearls, 2021Black Parian, Porcelain and Freshwater Pearls30 x 16 x 13 cm
11 3/4 x 6 1/4 x 5 1/8 in.
Matt Smith (British)Female Candlestick Sconce, 2020White Earthenware58 x 30 x 15 cm
22 7/8 x 11 3/4 x 5 7/8 in.
Matt Smith (British)Sconce Women with Parasol, 2020White Earthenware49 x 30 x 13 cm
19 1/4 x 11 3/4 x 5 1/8 in.
Matt Smith (British)Stork I, 2021Porcelain30 x 13 x 18 cm
11 3/4 x 5 1/8 x 7 1/8 in.
Matt Smith (British)Male Candlestick Sconce, 2020White Earthenware58 x 30 x 15 cm
22 7/8 x 11 3/4 x 5 7/8 in.
Elin HughesUsk Cider Jar, 2021Earthenware clay
decoration24 x 21 x 19 cm
9 1/2 x 8 1/4 x 7 1/2 in.
Elin HughesStrawflower Jug , 2021Earthenware clay
decoration24 x 19 x 17 cm
9 1/2 x 7 1/2 x 6 3/4 in.
Tanya GomezCliff, 2020Material: Porcelain. Thrown on a wheel. Fired multiple times 1280°43 x 22 cms
16 93/100 x 8 33/50 inches
Tanya GomezGlacier I Chun, 2021Material: Porcelain. Thrown on a wheel. Fired multiple times 1280°29 x 27 cms
11 21/50 x 10 63/100 inches
Tanya GomezGlacier II Dolomite, 2021Material: Porcelain. Thrown on a wheel. Fired multiple times 1280°27 x 29 cms
10 63/100 x 11 21/50 inches
Amy HughesMedium After Alhambra Vase 02, 2021Coil and slab built vase; grogged stoneware body with high fired porcelain and coloured decorating slips, transparent glaze interior detail.
48 x 36 cm
19 x 14 1/4 in.
Amy HughesMedium After Alhambra 01, 2021Coil and slab built vase; grogged stoneware body with high fired porcelain and coloured decorating slips, transparent glaze interior detail.48 x 36 cm
19 x 14 1/4 in.
Rafaela de AscanioBottoms up!, 2019Glaze on stoneware43 x 34 x 42
16 93/100 x 13 39/100 x 16 27/50
Rafaela de AscanioJumping Planet, 2021Glaze on Earthenware26 x 26
10 12/50 x 10 12/50
Rafaela de AscanioShepherdess Moons, 2021Glaze on Earthenware26 x 26
10 12/50 x 10 12/50
Rafaela de AscanioVenus' Lover, 2021Glaze on Earthenware26 x 26
10 12/50 x 10 12/50
Amanda McCavourPoppies, 2018 - OngoingThread, Machine EmbroideryDimensions Variable
Pricing per Grouping
25 - £1,250.00
50 - £2,500.00
100 - £5,000.00
200 - £9,500.00
300 - £14,000.00
400 - £18,500.00
500 - £23,000.00
600 - £27,000.00
700 - £30,000.00
Klari ReisHypochondria, 30 pieces, 2020Mixed Media, Petri Dishes, Tee Nuts and Steel Rods
Installation board optional; priced at £275Diameter: 71.1 cm
Diameter: 28 in.
Freya Bramble-CarterV1 – Crown the Clown Collection , 2021Thrown and assembled in Stoneware Clay, with a combination of Glazes, Underglazes, Enamels and Gold Lustre47 x 29 cm
18 1/2 x 11 1/2 in.
Freya Bramble-CarterV4 – Crown the Clown Collection, 2021Thrown and assembled in Stoneware Clay, with a combination of Glazes, Underglazes, Enamels and Gold Lustre51 x 35 cm
20 1/4 x 13 3/4 in.
Freya Bramble-CarterV3 – Crown the Clown Collection, 2021Thrown and assembled in Stoneware Clay, with a combination of Glazes, Underglazes, Enamels and Gold Lustre56 x 27 cm
22 1/4 x 10 3/4 in.
Freya Bramble-CarterV2 – Crown the Clown Collection, 202155 x 30 cm
21 3/4 x 11 3/4 in.
Emilie TaylorCome On, England, 2021Slip, Oxide and Lustre on Stoneware52 x 26 x 26
20 47/100 x 10 12/50 x 10 12/50Sold
Emilie TaylorPortrait Pots (Herne) – Group of 6, 2021Slip, Oxide and Lustre on Stoneware28 x 10 x 10
11 1/50 x 3 47/50 x 3 47/50Sold
Her solo exhibition Universal Yearnings opened at Liliya Art Gallery in May 2021. Other important exhibitions include Back to Back, Bowes Parris Gallery, (2021), Domesticity and the Feminine, curated by Josephine May Bailey (2021), Inside I Outside, Janet Rady Fine Art, Monster/Beauty: An Exploration of the Female/Femme Gaze, Lychee One, London (2020);Paintings On, And With Paper, Cob Gallery, London (2020); Clay Today: A Showcase Of Ceramics In Isolation, Cynthia Corbett Gallery (2020); A Room of One’s Own, The Koppel Project, London (2019).
Freya Bramble-Carter is a London based ceramics artist, known for creating contemporary designs, strongly inspired by the ethos of beauty and nature. Freya combines her lifestyle, work and enjoyment in one and tries to live in the most true and authentic way she can learning and expanding on a personal level as well as professionally in this art form.
Before studying fine art at Chelsea College of Arts Freya learned the craft of clay under her father Chris Bramble's guidance, and then through teaching, but enjoys the process of ‘unlearning’ the rules when it comes to making her own pieces. Having always felt a strong physical connection to the clay she works with, Freya believes in creating pieces with soul, that inspire and become a source of energy in the home.
Freya’s work ranges from fine homewares including plates and bowls to sculptural pieces for the home and garden. Applying her talent to artisan glazes and handcrafting unique silhouettes, Freya's limited edition pieces are designed to elevate the details of your home or act as the perfect go to for a thoughtful gift.
Crown the Clown Collection by Freya Bramble-Carter has been specially crafted for Meaning Behind Materiality exhibition with Cynthia Corbett Gallery as part of London Craft Week 2021. We see the artist exploring the use of colour and expression with this playful series.
Freya Bramble-Carter will be represented by Cynthia Corbett Gallery at Collect 2022.
Tanya Gomez is a celebrated ceramist renown for her porcelain vessels in her signature lustrous colours.
With an MA in Ceramics from the Royal College of Art, Tanya’s process is practice led. Developed from traditional methods and disciplines Tanya has honed her skills over the last 15 years and uses dynamic throwing, cutting and assembling techniques to create large cylindrical shapes. Impactful both individually and as a group, her vessels create expressive, vivid landscapes and fluid, architectural forms.
British Amy Hughes’s practice is both fuelled by and symbolic of the highly prestigious Porcelain wares produced at the Royal Sèvres Factory in the late 17th and 18th centuries. Hughes’ works reference and pay homage to the originals, but are created with a freer approach, giving them a new lease of life.
After Alhambra pieces take inspiration from the large lustre vases produced during the Nasrid Dynasty (the last Muslim Dynasty in the Iberian peninsula, ruling Granada) in the 14th and 15th centuries which became romantically known as 'Alhambra Vases', and of which only 8 remain in semi-intact existence today. The skill, the legend, the intrigue surrounding these vases captivated and fuelled my fascination to explore a contemporary response to the stunning relics. The forms, the two wing-like handles, the horizontal decorations all reference the originals, the rawness in composition and materiality nodding to their faded beauty. Drawing studies of their intricate surface pattern have been enlarged and explored on the coil and slab built forms creating exciting pattern and shape with a colourful and lively approach.
Amy Hughes works and exhibits internationally, including high profile Collect art fair with the Crafts Council with Cynthia Corbett Gallery and a spell as Artist in Residence at Konstfack School, Stockholm, Sweden. She was nominated to represent the UK in ‘New Talent’ at the European Ceramic Context 2014 as well as being shortlisted for the inaugural Young Masters Maylis Grand Ceramics Prize 2014 for artists who show an exceptional command of ceramics, alongside an awareness of the heritage of ceramic craft.
In 2015, Hughes was chosen as the first Ceramics and Industry Artist in Residence at the Victoria & Albert Museum working in collaboration with 1882Ltd, as well as being selected as one of eleven artists for AWARD at the British Ceramics Biennial ‘presenting new works exemplifying the energy and vitality of the best of British contemporary ceramics practice.’
In 2018 her first solo show Garniture at Croome Court (part of the National Trust) was funded by Arts Council England – she had the opportunity of working with Croome Court's extensive collections. Most recently she was selected as one of 5 commissioned Artists to work with at The Leach Pottery St Ives on the Leach 100, which is part of centenary celebrations looking at the past, the present and the future of studio pottery. In 2021 she will be participating in For the Love of the Master: 25 artists fascinated by Piranesi – a group exhibition celebrating the legacy of this versatile Roman artist in the 21st century. This homage to Piranesi will be held in Dublin Castle & the Casino at Marino, Dublin.
Amy Hughes will be represented by Cynthia Corbett Gallery at Collect 2022.
Elin Hughes was shortlisted for the Young Masters MaylisGrand Ceramics prize in 2019 and was one often artists selected for MOMA Machynlleth’s ‘YoungWelsh Artists’ showcase in 2020. Sincegraduating from the BA Ceramics at Cardiff Schoolof Art and Design in 2019, Elin has shownwork in multiple exhibitions around the United Kingdom,most recently at Circle Contemporary inCornwall, Aberystwyth Arts Centre and Dover StreetMarket in London. She currently lives andworks in Dolgellau, North Wales.
Albert Montserrat is totally convinced that ceramics is the most noble, traditional and humanly attached material of all. Also, historically, what this material has allowed us, the humanity, to achieve, in all aspects, from improving our health to a medium of expression, is immense. This makes him feel real veneration and respect to it. He shows a very particular interest for the highly technically demanding oriental glazes from the Old Masters, having inspired him to make an extensive research, giving the strong finish to Montserrat’s work. Glazes are his passion. He is fascinated to see and endlessly test what the chemical elements around us bring to the surface of the vessels that he throws on the wheel. He has a special interest in the traditional vessels that the history of ceramics has brought to us. From the Egyptian canopic jars to the Roman amphoras or the Korean moon jars.
Montserrat has been intensively and continuously making ceramics for over ten years in Spain, Mexico and the UK. His work is held in public collections in Spain and the UK and in private collections in Qatar, USA, UK, Spain, Mexico, Australia, Belgium and France. He won the Barcelona’s Ceramics Biennial in 2018. Montserrat holds several internationally acclaimed awards: Highly Commended Young Masters Maylis Grand Ceramics Prize 2019 and Young Masters Lerouge Knight Art Award 2019.
Klari Reis uses the tools and techniques of science in her creative process, constantly experimenting with new ways to apply materials and methods. She is driven by curiosity and her desire to explore and document the natural and unnatural with a sense of wonder and joy. Formally trained as an architect, the artist from her base in San Francisco (in proximity to one of the largest concentrations of life science/technology companies in the world) collaborates with local biomedical companies and is inspired by the cutting edge of biological techniques and discoveries.
The unifying theme of Klari Reis’s art is her mastery of a new media plastic, epoxy polymer, and the fine control she brings to its reactions with a variety of dyes and pigments. Her compositions display brightly coloured smears, bumps and blobs atop aluminum and wood panels. A skilled technician with a studio for a laboratory, Reis uses science in the service of her art.
Klari Reis's work has been exhibited worldwide and public collections include Microsoft Research in Cambridge, UK; Next World Capital’s offices in San Francisco, Paris, and Brussels; MEG Diagnostic Centre for Autistic Children in Oxford, UK; Great Ormond Street Hospital for Children in London; the Stanford University Medical Center Hoover Pavilion in California; and Elan Pharmaceuticals, Genentech, Acetelion and Cytokinetics in South San Francisco.
Klari Reis is represented internationally by Cynthia Corbett Gallery.
UK-born Matt Smith is well known for his site-specific work in museums, galleries and historic houses. Using clay, textiles and their associated references, he explores how cultural organisations operate using techniques of institutional critique and artist intervention. He is interested in how history is a constantly selected and refined narrative that presents itself as a fixed and accurate account of the past and how, through taking objects and repurposing them in new situations, this can be brought to light. Of particular interest to him is how museums can be reframed into alternative perspectives.
In June 2020 our long-standing partner Contemporary Art Society has acquired twelve ceramic and tapestry works by artist Matt Smith. This acquisition will become a central focus for the displays at the Hove Museum when it reopens. This exciting project was possible due to the Contemporary Art Society’s Rapid Response Fund in partnership with Frieze London, which is a new initiative supporting artists and museums during the Covid-19 pandemic. The CAS Rapid Response Fund is being used to purchase works by artists to add to collections of museums across the UK – ensuring financial support goes where it is needed most. We are thrilled that Hove Museum will now feature a major installation of Matt Smith's artworks, which is highly illustrative of his style and artistic research. Much of Matt Smith’s work explores and comments on marginalised history and it will form a key inspiration for activity sessions as the museum expands its work with groups with varied critical social needs.
"What museums collect, and what this tells us about what society deems important, is an ongoing fascination to me. Recent events have shown how important objects, and particularly sculpture, are in the national debate about who we are and how we got here. I have worked with the museums in Brighton and Hove many times over the last decade and am delighted that this acquisition leads on from that relationship. I look forward to seeing how the works are interpreted and curated to help the widest possible audience feel welcomed and visible within the museums," – Smith says.
In 2015 / 2016, Matt was Artist in Residence at the Victoria and Albert Museum. In 2009 he received the ARC Award for Craft from Aspex Gallery and was awarded the inaugural Young Masters Maylis Grand Ceramics Prize in 2014. At Collect 2018, he was awarded "Object of the Show" by Ekow Eshun. For Collect 2020, Cynthia Corbett and Matt Smith co-curated a site-specific installation featuring textiles and black parian works. The curation was extremely well-received, and Matt was awarded the inaugural Brookfield Properties Crafts Council Collection Prize, which allowed the Crafts Council to purchase six artworks for the Council's collection. The V&A Museum's Design and Textiles department also acquired one of Matt's subversive embroideries.
Matt regularly exhibits his work at public collections including Coming Out, Walker Art Gallery 2017, A Place at the Table, Pallant House, 2014; Subversive Design, Brighton Museum and Art Gallery, 2013; DIY A Revolution in Handicrafts, Society for Contemporary Craft, Pittsburg, 2010.
Matt Smith started his career at the V&A before developing exhibitions at the Science Museum and the British Film Institute. After retraining as a ceramicist, his work has often taken the form of hybrid artist/curator. His large scale solo shows have addressed themes including the legacy of colonisation in Losing Venus (Pitt Rivers Museum, Oxford) and Flux: Parian Unpacked (Fitzwilliam Museum, Cambridge), LGBT visibility in Queering the Museum (Birmingham Museum and Art Gallery, 2010) and Other Stories (Leeds University Art Collection, 2012). Matt co-directed and curated Unravelling the National Trust which saw over thirty artists working with contemporary craft (including himself) commissioned to respond to the histories of the National Trust properties Nymans House, Uppark House and The Vyne. Matt holds a practice-based PhD from the University of Brighton. The PhD explored the use of craft techniques in contemporary art by artists exploring identities. He is Professor of Ceramics and Glass at Konstfack University of the Arts, Stockholm and Honorary Fellow at the University of Leicester’s School of Museum Studies. His work is held in the collections of the Victoria and Albert Museum, the Walker Art Gallery, Birmingham Museum and Art Gallery and the Fitzwilliam Museum as well as numerous private international collections.
Matt Smith is internationally represented by Cynthia Corbett Gallery.
Emilie Taylor was born in 1980 in Sheffield, where she now lives and works. Her large scale ceramics use heritage craft processes, particularly traditional slipware, to interpret and represent post-industrial landscapes. Emilie is interested in the pot as container and metaphor for how we seek to contain different communities within society. Beyond the studio she works with the communities represented in her work, and through interdisciplinary projects hopes to apply the alchemical quality of ceramics in a socially engaged context. Emilie has completed residencies in the UK and abroad, and has exhibited at Yorkshire Sculpture Park, Ruthin Craft Centre, Gallery Oldham and the Arts & Crafts House Blackwell. Her most recent solo exhibition (May Day, May Day, May Day) at Rugby Art Gallery and Museum concludes 11th of July 2021. Her work forms part of public and private collections.
Emilie Taylor is an alumna of Young Masters Art Prize. She will be represented by Cynthia Corbett Gallery at Collect 2022.
Based in Toronto, Amanda McCavour is a Canadian artist who works with stitch to create large-scale embroidered installations. She holds a BFA from York University, where she studied drawing. In May 2014, she completed her MFA in Fibers and Material Studies at Tyler School of Art in Philadelphia, PA. From 2007 through 2010, McCavour was an Artist-in-Residence at Harbourfront Centre’s Craft & Design Studio. Her work has been exhibited in galleries nationally and internationally, with recent solo exhibitions in 2019 Pink Field, Blue Fog at the Art Gallery of Northumberland, Cobourg (ON); Consumed by Clouds at the Kootenay Gallery of Art, History and Science, Castlegar (BC); The Floating Garden at Workhouse Arts Centre, Lorton (VA); and Pink Field, Blue Fog at Washington Pavilion Visual Arts Center, Sioux Falls (SD). Upcoming projects for 2021 include new installations for Paige Court, Chazen Museum of Art, Madison (WI) and The Delaplaine Arts Center, Frederick (MD). She is also working towards a commission for Columbia Museum of Art, Columbia (SC) in 2022. McCavour has received numerous awards and scholarships from the Ontario Crafts Council, The Canada Council for the Arts, The Handweavers and Spinners Guild of America, The Ontario Society of Artists, The Surface Design Association, and The Embroiderers Guild of America.
In her work, McCavour uses a sewing machine to create thread drawings and large scale installations. By sewing into fabric that dissolves in water, she can build up stitched lines on a temporary surface. The crossing threads create strength so that when the fabric is dissolved, the thread drawing can hold together without a base. With only the thread remaining, these images appear as though they would be easily unraveled and seemingly on the verge of falling apart, despite the works ravelled strength. The artist is interested in thread's assumed vulnerability, its ability to unravel, and its strength when it is sewn together.
“Poppies” began as a commission of one-hundred flowers, hanging and photographed to commemorate 100 years from the end of the First World War. From these humble beginnings, this work expanded to hundreds of embroidered poppies hung upside down from the ceiling creating dream-like environment. The poppies are a keepsake, memory and a tender reminder of life, time and space.
In 2019 Amanda McCavour won the 2nd prize for the Young Masters Art Prize and the Young Masters Emerging Woman Artist Award.She will be represented by Cynthia Corbett Gallery at Collect 2022.