Ceramics

The Enduring Dialogue: How Studio Ceramics Found Its Place in the World of Sculpture

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For a century, The Hepworth Wakefield has championed contemporary art and its connection to everyday life. Established in 1923, the gallery quickly recognized the artistic merit of British studio ceramics, amassing a significant collection by the late 1930s. This dedication to the medium culminated in a year-long exhibition, “The Art of the Potter: Ceramics and Sculpture from 1930 to Now,” celebrating the centennial of the gallery’s founding. This captivating exhibition, running until January 2024, doesn’t just showcase stunning ceramic works; it delves into the intertwined histories of British studio ceramics and sculpture, two disciplines often viewed in isolation.

Bridging the Divide: Early Exhibitions and Shared Artistic Visions

The exhibition finds its roots in two groundbreaking shows that dared to blur the lines between ceramics and sculpture. The first, a 1935 exhibition by the Seven and Five Society at London’s Zwemmer Gallery, featured a captivating blend of Barbara Hepworth’s abstract sculptures, Ben Nicholson’s abstract paintings, and the pottery of William Staite Murray. This juxtaposition sparked a dialogue, questioning the perceived boundaries between craft and fine art. Could a pot, with its inherent functionality, aspire to the status of sculpture? Could a sculpture, stripped of practical purpose, evoke the essence of a humble pot?

This blurring of lines continued in 1959 with “Art of the Potter” at The Wakefield Art Gallery. Curated by the visionary Helen Kapp, this exhibition brought together modernist abstract vessels by luminaries like Lucie Rie, Hans Coper, and James Tower alongside works by Yorkshire potters such as Barbara Cass, Irwin Hoyland, and Yvette and Paul Brown. The exhibition challenged viewers to reconsider their preconceived notions of these mediums, highlighting the shared artistic language of form, texture, and aesthetic exploration.

From Studio to Gallery: A Legacy of Acquisition and Display

The Hepworth Wakefield’s commitment to studio ceramics is evident in its collection, which features pieces acquired as early as the late 1930s. Among these treasures are Michael Cardew’s sgraffito-decorated earthenware Vase (1938) and Samuel Haile’s earthenware vase Blood Rite (1938), a gift from the renowned artist and collector Hazel King-Farlow. These early acquisitions speak to the gallery’s foresight in recognizing the artistic value of studio ceramics at a time when the field was still emerging.

This legacy of acquisition continues today. In 2022, The Hepworth Wakefield received a significant gift from the Art Fund: Staite Murray’s tonal glazed stoneware Ovoid Vase (1923). This acquisition further strengthens the gallery’s representation of key figures in the British studio pottery movement.

A Feast for the Senses: Experiencing Ceramics in a New Light

“The Art of the Potter: Ceramics and Sculpture from 1930 to Now” is a testament to the enduring power of these art forms. Displayed in one of the museum’s serene galleries, designed by architect David Chipperfield, the exhibition features 80 works, half of which are promised gifts to the museum. The thoughtful curation allows visitors to experience the works intimately. Many pieces are displayed on freestanding plinths or open shelves, inviting close examination without the barrier of glass.

The gallery’s natural light enhances the viewing experience. For example, the subtle nuances of Gwyn Hanssen Pigott’s Shigaraki White Trail (2012) come alive as natural light dances across the glazed surfaces of the 23 porcelain vessels. While some pieces, like Lucie Rie’s Vase with Flared Rim and Hans Coper’s Spade Vase, are protected within a glazed vitrine, their presence in the exhibition underscores their significance in the narrative of British studio ceramics.

Beyond Function: Exploring the Sculptural Qualities of Clay

The exhibition doesn’t shy away from showcasing the diversity of approaches within studio ceramics. Alongside the elegant forms of Rie and Coper, visitors encounter the expressive works of artists like Ewen Henderson, Jennifer Lee, and Richard Batterham. A central plinth, vast and irregularly shaped, becomes a stage for 23 works by 15 potters, highlighting the shift towards hand-building techniques and bold glazes that characterized the 1950s and 60s.

This eclectic display challenges the traditional view of pottery as purely functional. As Staite Murray eloquently stated in 1935, “Pottery is by nature the most abstract of the plastic arts, it does not explain it only indicates, its usefulness is its emptiness.” This sentiment resonates throughout the exhibition, encouraging viewers to appreciate the inherent sculptural qualities of ceramic art.

A Must-See Exhibition: Where Ceramics and Sculpture Converge

“The Art of the Potter: Ceramics and Sculpture from 1930 to Now” is more than just an exhibition; it’s a conversation starter. By placing studio ceramics in direct dialogue with sculpture, the exhibition challenges traditional hierarchies within the art world. It invites us to appreciate the beauty, craftsmanship, and artistic merit of ceramics, not as a lesser form, but as a vital and evolving force in contemporary art.

A visit to The Hepworth Wakefield is highly recommended for anyone interested in exploring this fascinating intersection of art forms. The exhibition runs until January 2024, offering a unique opportunity to experience the evolution of studio ceramics and its enduring dialogue with sculpture.

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