Rhian Malin

Malin discovered her love for pottery during her last year of university studying three-dimensional design at Camberwell College of Art. She works with thrown porcelain and takes much of her inspiration from her grandmother's Willow Pattern collection and the historical tradition of cobalt blue painted porcelain. Her work challenges perfectionism by using precise, calculated, geometric patterns on deliberately imperfect forms.

Jenny Southam

I was drawn to this artist because of my ongoing affliction to illustration, and especially artist who combine this style with ceramics. The work looks like something in-between an oil-paintng or a collage. I just find it amazing how she manages to achieve the depth and texture on a ceramic surface. Also the prominent theme of nature took my interest since almost any design I come up with is based around florals and plants.

‘Knitting Pattern Folk’ is Southam's most recent project- sculptural forms which translate curious, vintage knitting patterns into three-dimensional objects. Southam works with terracotta, illustrating her forms using slip and sgraffito techniques.

Southam studied fine art in Bristol where she originally worked with bronze, but since moving to Devon she discovered her love of clay and has been creating ceramic sculptures for the past 30 years. European mythology and her Nordic roots inspire her sculptures- figures are often frozen in a dramatic exchange or pose and are frequently surrounded by nature.

Women’s Role in Victorian Pottery

Lots of women weren't able to marry off but education wasn't customary for women in Victorian times. The National School of Design for women was established in London in 1842, five years after that for men. Women aged 13-30 who needed to work as they were unmarried could enroll here, as they weren't able to pursue many professions with their lack of education. It quickly became more socially respectable for women to pursue decoration pottery as a career. China painting classes were held at the government’s South Kensington school from 1866 to 1870 and women were paid 6p an hour to paint tile murals in the V&A refreshment rooms. Major manufacturers and retailers started to regard pottery painting more highly and "In 1876, Howell & James in Regent Street launched their first annual china painting exhibition showing 500 pieces by amateurs and professional artists. By 1881, over 2,000 pieces were being exhibited." ' Typically, the women began their careers at 13 and their wages increased for each government exam that they passed. Many were taught by Miss Florence Lewis, who wrote the first guidebook on pottery painting, and was responsible for the largest Lambeth Faience vase, standing over 6 feet tall, which is now at WMODA. '

Victorian Pottery Inspiration

Jugs!

victorian inspiration- borders smaller florals

Inspiration: