BETTLES

gallery

Beverley Bell- Hughes

I attended Sutton & Cheam Art School Foundation Course from 1965 – 67, after which I went to Harrow School of Art to study for a diploma in studio ceramics, under Michael Casson and Victor Margrie 1967 – 69. During this time I met and married fellow student Terry Bell-Hughes from North Wales (1968). I visited Wales on a regular basis for ten years and in 1978 we were able to move to Llandudno Junction, between Conwy and Llandudno.

I had various jobs working in the youth service, social services and artists’ residencies in schools. I also taught evening classes. My work relates very much to where I live – the estuary of the river Conwy and the surrounding beaches.

I am a member of the Makers Guild in Wales, a Fellow of the Craft Potters Assoc., Chair of North Wales Potters Assoc., co-Chair of Disability Arts Cymru and Patron of ‘Vision Support’ charity for people who are visually impaired. My work is in various collections at home and abroad.

Jack Doherty

Jack Doherty’s soda-fired porcelain bowls have added new subtleties of colour to British ceramics, their richly nuanced slip-coated surfaces bringing out unexpected rusts, turquoises and oranges on forms of great simplicity. Some of his pots have ribbed decoration, perhaps embossing and indenting, but most decoration is left to the interaction of the kiln flame and copper carbonate.

Having trained at Ulster College of Art and Design and Kilkenny Design Workshops, Doherty eventually moved to England and settled in Herefordshire. Now living in Cornwall, he served as Lead Potter at the Leach Pottery from 2008-2013, and has served two terms as Chairman of the Craft Potters Association. Now, with these responsibilities behind him, he can concentrate solely on his direct and sensual pots.

Richard Phethean

Trained in the seventies at Camberwell and in the studios of Janice Tchalenko and Colin Pearson. Originally produced ranges of domestic slipware using traditional tools and techniques, but strived always to experiment with surface and form to create a looser, personal style.

My time as a resident potter at Sibford School has been a productive environment for experiment and evolution.
After a lengthy process of development, the functional roots of my key vessel forms have become increasingly ambiguous. My latest body of sculptural work attempts to combine my underlying love and commitment to the wheel and thrown form, with responses to geological formations, weathering and coastal landscapes. Subsequently I have revisited mug and tea pot making with a new impetus, where playful abstraction and function coexist.



Steve Neville


Based in his central Salisbury studio, Steve Neville is following in his father’s footsteps – a lecturer and potter at what was the Teacher’s Training College of Sarum St. Michael, part of which is now the Salisbury & South Wiltshire Museum.

Drawing on his engineering and fine art background Steve is refining his personal vision of ceramics. While continuing to develop his throwing technique, he brings a refreshingly straightforward approach to his ceramic work which results in elegantly pleasing forms that push the boundaries of utility by making delicate, finely balanced work that defies gravity and use.

Steve uses simple partial glazes to give his porcelain and stoneware subtle hints of colour and design.

Kyra Cane

When you choose to invest in an object you also share in the choices that have resulted in its production. For some this will involve design and manufacturing processes, but for me, creating pots is inextricably linked with making things using my own two hands.

In a world where most work relies on collaborative activities, it is extraordinary to be responsible for producing a finished object from beginning to end; simultaneously a great pleasure which is always tinged with the fear of failure.

The materials I use are complex and of the highest quality: porcelain clay, stain, oxides, glaze, paper, paint, ink, crayons, pastels, graphite and charcoal. But the tools and equipment I use are strong and basic, throwing wheels, ribs, wires, scales, bins, buckets, boards, brushes and kilns.

With these I throw, turn, mark, colour, glaze and fire the pots that I make and then recycle the remnants of my precious clay which has been thousands of years in its making.

Jenny Southam


Jenny Southam lives and works in Exeter. She works in the medium of terracotta specializing in individual hand-built figurative sculptures. She is continually evolving new ideas, most of which reference her fascination with Etruscan tomb sculptures and Staffordshire mantelpiece figures. The sculptures explore mythic and domestic themes and many are inspired by working in the garden and on her allotment.

The works are celebratory, though in a quiet and contemplative way, the oxides and the slips decorating the sculptures used in an intuitive manner to echo the works emotional rhythm. She returns to rework her subjects over and over again, although each piece has its own striking individual character. The exploration of scale is an important part of Jenny's practice; some sculptures are only a few inches high whilst others are imposing figures two feet tall.

Sophie MacCarthy

I have been a studio potter for over 30 years and have established a reputation for distinctive imagery and a bold and joyous approach to colour.

My work is slip-painted earthenware ceramics. I paint with coloured slips directly on to the dry clay surface. This immediacy allows for spontaneity and greater tonal depth. I use stencils, paper cut-outs and wax resist and much of my imagery is a response to what I see around me; the colours and textures of the natural world and the urban environment.

For instance, I love the way multi-coloured leaves gather around a drain grid or stew in puddles with the blue sky reflected in the water. I also like to express a sense of scatter and flow, rhythm and movement and I try to translate these things into my work through colour and through drawing.

Sue Mundy

Sue Mundy's organic work demonstrates her early obsession with natural forms such as pebbles, rocks, the sea and other objects hewn from the landscape.The unique characteristic of her forms and surface textures are the result of combining two different clays together, such that a coarse yet plastic body is achieved.

Sue uses hand-building techniques which she feels offers her a more considered way of working. This enables her to nurture each individual piece and allow time for its own development and growth. To emphasize the entrenched marks made on each surface, slips and oxides are selectively applied during the course of the drying process. Finally the works are fired in a gas kiln, often in a reduction atmosphere.

She gained direct entry for a Multidisciplinary Design degree at North Staffordshire Polytechnic, specializing in ceramics.

Martyn Brewster

Martyn is one of the UK’s leading abstract painters and printmakers. He studied at Hertfordshire and Brighton Colleges of Art, graduating with an MA in 1975. He has exhibited throughout the UK, France, Spain and the USA; and his work is in numerous public and private collections throughout the world. In 1997, Martyn’s work was the subject of a major travelling retrospective exhibition launched at the Russell Cotes Gallery in Bournemouth.

Martyn lives in Dorset, and his drawings, paintings and prints are inspired by the sea and coastal landscape. Through the dynamic application of layers of vibrant colour, including stunning blues, oranges and reds, Martyn evocatively captures the mood and sensation of a particular place.

John Austin-Williams

"The theme of the exhibition is "Maritime", although none of the pieces submitted is expressly about the sea, it is about the coast, how the sea affects landscape and those who live within it.

The magnificent Dorset coastline provides subject matter for a number of pieces. The Studland peninsular is reflected in "Three Nocturnes". Moving Westwards, the dramatic landscapes of Kimmeridge and Tynham provides visual inspiration and excitement. Further West again, the geologically complex cliffs of the Charmouth area furnish new discoveries for painting and drawing."

JA-W 30.10.2017

Roger Bettle

The Marine subjects that make up the majority of Roger Bettle’s work represent well known coastal features which have an importance to seafarers and landsmen alike. With a background in Architecture and building, one sees the influence of these disciplines in Roger’s watercolours.

Being self taught apart from early training in his chosen profession, the water colours show a freshness and simplicity of approach with outline and form. This leaves the viewer to see more and perhaps rekindle latent memories of the observed subject.

Alison Bolton

Alison trained at Salisbury School of Art and Hornsey College of Art and has taught advanced art to adults students in Lymington for many years.. She began painting seriously when her children were old enough not to be a constant interruption and has exhibited regularly ever since. Working mostly in acrylic, Alison’s paintings reflect a passion for the landscapes of the New Forest, the reedbeds and the Solent coast; particularly the moods and colours of winter.

“My passions for painting and the natural world have run side by side since my childhood and my landscapes stem from time spent watching and listening in the secret places in the New Forest, Solent coast and the reed beds near my home”.


Elly Wall

The work is inspired by the material itself, and loosely reminiscent of modern ruins, which have always fascinated me. Through intuitive manipulation of the clay and mark making, I exploit its material qualities while maintaining a simple, considered form. I want to maintain the freshness and rawness of the material so I work quickly, incorporating the unexpected or making spontaneous decisions along the way. Edges and joins are a central consideration, and when jagged or ripped become suggestive of fragility and desolation. I don’t want to cloak the form in glazes, instead I love the cleanness and tactility of the dry with rich jewel-like drips of glaze. The colour is applied all at once in the same way I would approach a drawing –a composition of colour and texture.

Akiko Hirai


Akiko Hirai was born in Japan in March 1970. She initially studied cognitive psychology in Japan and obtained her degree before coming to England. She took a degree course in ceramics at the University of Westminster, then went on to graduate from Central St. Martins. She now practises her ceramic art in Stoke Newington, London.

Akiko Hirai makes practical ware using the Japanese tradition of allowing the clay to show how it wants to be fired itself. Her work also allows the viewers to find out the language of the objects in their own ways. She focuses on the interaction between objects and viewers. Her unique approach to ceramic work has had much attention and praise and her work is in demand from commissions in England and world-wide.

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