29 June – 15 September 2019
Elspeth Owen, Paca Sanchez, Lotte Scott, Emma Howell
Four women artists of different generations featured in this exhibition. All of them attempted the expression of deep and quite original interrelationships with nature. French artist Paca Sanchez contributed work about the manipulation of nature itself, direct use of plants, seeds, twigs to create poetic new order. In contrast, Lotte Scott creates free forms from unpredictable watery suspensions of peat, and sculpture from the disintegrated forms of burnt basketry. Elspeth Owen is a radical, entirely original ceramic artist. Her practice plays with contrasts of fragility and strength, paralleled with a feminist’s interpretation of nature, community and ritual.. And Emma Howell, creates art in recovery from grief, dedicated to her dead father, whose loss brought her to a positive new creativity and fresh relationship with colour and form.
Paca Sanchez’s work forms the nucleus of this show. She is a modernist with plants, making precise and controlled art from formal arrangements of leaves, seeds, flowers, stems, twigs. She orders and composes nature from her southern French studio, carefully selecting from her vast collection of dried specimens. Even though she works in formalised patterns, straight lines, grids, diagonal lines, sweeping curves, she allows the properties of the plants to dictate their form in the images. Like herman de vries, who showed here in 2017, she is a kind of natural scientist with an uncompromising European modernist character, a commitment to restraint and simplicity, an extreme economy of means. However, she was the first to use plants, and her work is distinctively lyrical. She describes it as poetic calligraphy.
Living in France, but of Spanish extraction, she came to be an artist in the late 1980s, after another career. This is her first time of showing in the UK, but she is well known in France, having had some 40 exhibitions of her work, 14 of them solo, and 10 residencies.
Elspeth Owen lives and works in Grantchester near Cambridge in the former village cricket pavilion. She came to pottery via evening classes in the mid-seventies having studied history at Oxford University and worked as an academic, a social worker and a teacher. She says that in place of an art school training she taught on Simon Nicholson’s legendary Open University course Art and Environment and that ‘I have been a feminist since the time when it was called being a member of the Women’s Liberation Movement and a peace protester since the Aldermarston Marches and Greenham Common.’
Elspeth makes the most egg-shell thin ceramic vessels, often part of installations which celebrate natural materials, journeys, women’s ways of life. Her work has been shown in Britain and in Canada, Croatia, France, Germany, Netherlands, Sweden, Switzerland, Taiwan and USA.
She quotes essays from a book about her pots, coming round again (1998), designed in collaboration with her nephew, Webster Wickham, which call her ceramic work ‘odd…yet enjoyable, exhilarating, and contemplative’ (Gillian Beer), ‘more anarchic and rougher’ (Tanya Harrod) and ‘a lyrical sabotage of the conventional’ (Edmund de Waal).
Gloucestershire-based artist Emma Howell explores and reveals new methods of sensation and perception. She’s nurturing a new relationship with the world; a world that – after her father’s death – she had deemed tiresome and melancholic.
Emma’s encounter with grief compelled her to build a deeper appreciation and more colourful affinity towards nature, society and culture. Now, she pursues her life and art as an active adventurer and explorer, and through it has found a combination of tenderness and strength. She has found a means to be grounded, her work hovering between structure and fragility. All of her work is dedicated to her Dad, whose loss taught her how to embrace the adventure that life can offer.
Lotte Scott’s work characteristically crosses categories as much through materials as definitions. Land becomes liquid, solid becomes fluid, hilly becomes flat, drips are horizontal or vertical. While everything is manipulated nothing is controlled – all is allowed its freedom
Towards a feminist geography
Lotte Scott’s work uses natural materials, such as charcoal, lime, soil, in a highly experimental way, enabling them to flow and express their properties freely, finding their paths in the gallery.
Lotte Scott’s artwork explores place, time and material. For the last five years her practice has focused on the peat moors of the Somerset Levels.
An interest in archaeology and local distinctiveness also informs her work. It is not so much nature taking control as forms being facilitated and enabled to take their course