Reclaiming Heritage Through Clay: Neil Brownsword’s Artistic Journey in St Austell

As enthusiasts of handicraft, we’re constantly drawn to the stories embedded within the objects we cherish. Ceramics, in particular, hold a unique ability to capture both the hand of the maker and the echoes of history. Professor Neil Brownsword, a celebrated ceramic artist, dives deep into these intersections, exploring themes of industrial heritage, human labor, and the enduring legacy of craft. His recent work, commissioned for the Whitegold International Ceramics Prize in St Austell, UK, offers a powerful testament to the enduring connection between people, place, and the transformative power of clay.

Delving into St Austell’s “Taskscapes”

St Austell, a town deeply intertwined with the history of china clay mining, provided a poignant backdrop for Brownsword’s artistic exploration. The Whitegold Prize, established to highlight the region’s rich ceramic heritage, challenged artists to create works that sparked new dialogues about place and identity. Brownsword’s winning proposal, titled “Taskscape,” takes viewers on a captivating journey through the industrial processes that have shaped both the landscape and the community.

Intrigued by the intricate processes involved in china clay extraction and refining, Brownsword immersed himself in the heart of Imerys’ refining plants. He was captivated by the almost choreographed movements of machinery and the mesmerizing transformation of raw materials. This fascination led to the creation of a multi-faceted installation at St Austell’s White River Place, a shopping center juxtaposing the modern with the echoes of the town’s industrial past.

“Taskscape” seamlessly blends film, text, and a curated display of clay refining tools. The film, a poetic observation of industrial processes, invites viewers to contemplate the often-overlooked beauty found within the mundane. Brownsword masterfully elevates these everyday actions, revealing the inherent artistry within industrial endeavors.

[Consider adding an image here showcasing a still from Brownsword’s film or a detail shot of the installation at White River Place.]

This interplay between the tangible and the intangible is central to Brownsword’s artistic practice. He explains, “For the people who work in the industry, they never really give any of it a second thought – it’s just work. So I wanted to reframe the everyday as something worth a second glance.”

“Relic”: Breathing New Life into an Endangered Craft

Brownsword’s exploration of St Austell’s heritage extends beyond the industrial, delving into the delicate world of china flower making. Partnering with Stoke-on-Trent based artisan Rita Floyd, Brownsword embarked on a five-year project titled “Relic.” This collaboration, a testament to the power of shared knowledge and intergenerational exchange, breathes new life into a fading craft.

[Consider adding an image here showcasing Brownsword and Floyd collaborating or a close-up detail of the “Relic” installation.]

For the Whitegold Prize, Brownsword recreated “Relic” within the evocative setting of Wheal Martyn Clay Works, a museum dedicated to preserving the region’s china clay mining history. The installation, housed within the museum’s historic pan kiln, features hundreds of delicate bone china fragments meticulously arranged across the kiln’s weathered floor. These fragments, reminiscent of both delicate flower petals and the iconic “sky tips” formed by mining waste, speak to the interconnectedness of industry, nature, and human artistry.

Jo Moore, curator at Wheal Martyn, praises Brownsword’s work for its ability to recontextualize heritage: “A lot of people see heritage as something static. I’m fascinated by exploring heritage through working with communities, sharing stories and memories. Heritage is about the present and the future.”

A Legacy of Collaboration and Innovation

Brownsword’s artistic journey is marked by a deep respect for traditional craftsmanship and a drive to push the boundaries of ceramic art. His collaborations, like the one with Rita Floyd, highlight the importance of intergenerational dialogue and the preservation of endangered skills.

[Consider adding an image here showcasing Brownsword leading a workshop or interacting with the community.]

Through his work, Brownsword encourages us to look beyond the surface, to find beauty in unexpected places, and to appreciate the intricate connections that bind us to the materials we use and the landscapes we inhabit. His installations in St Austell serve as a powerful reminder that heritage is not a static entity, but rather a dynamic force that continues to shape our present and inspire our future.

For further exploration:

• The Whitegold International Ceramics Prize: https://www.austellproject.co.uk/
• Wheal Martyn Clay Works: https://www.wheal-martyn.com/
• The Potteries Museum & Art Gallery: https://www.stokemuseums.org.uk/pmag/