For more information please click info@studio-pots.com	Harlequin Gallery
Adam Frew Examples of work included in the October 2007 Harlequin Gallery exhibition.
No.40 - Wood-fired Copper Jar. Height: 32.0cm (12.6”) Price: SOLD	No.39 - Wood-fired jar. Height: 32.0cm (12.6”) Price: SOLD
Nos. 56, 57, 66, 64, 59 and 60 (SOLD) - Wood- fired Yunomis. Height: Approx. 10.8cm (4.25”) Price: £40 each except No.66 £36
No.43 - Copper green gas-fired jar. Height: 29.0cm (11.4”) Price: SOLD	No. 52 - Black vase. Height: 23.0cm (9.1”) Price: SOLD
Nos. 69 (SOLD), 70 and 68 - Black stoneware yunomis with celadon glaze. Height: Approx. 11.5cm (4.5”) Price: £40 each
No.44 - Wood-fired Copper Red Jar. Height: 30.0cm (11.8”) Price: £280	Nos. 49 (SOLD) and 48 - Wood-fired vases. Height: 22.0cm (8.7”) Price: £55 each
Adam Frew spent a couple of years working with Lisa Hammond at the Maze Hill Pottery here in Greenwich, before starting a two year residency last autumn at the Flowerfield Art Centre on the North Antrim coast of Northern Ireland, where the work he will be exhibiting was made. This marked a return “home” for Adam, being Belfast born and a graduate of the University of Ulster in Fine and Applied Art. Despite his young age, Adam has a considerable wealth of experience, as besides working with Lisa he spent three months at the Winchcombe Pottery and a further ten months working at a pottery in Finland. Initially, Adam experienced problems with the wood-firing kiln at Flowerfield so a few of the pots at the Harlequin will be gas-fired, although the vast majority of yunomis, dishes and jars will be from his wood kiln, with a further firing yet to take place as I write this. Adam works with stoneware clay and deliberately misshapes the vessels during the throwing process to produce distinctive and utterly inimitable forms. The potter’s wheel being Adam’s creative tool and the clay surface his three-dimensional canvas. His larger vessels are made in two pieces and these along with many of his smaller rounded forms are indicative of oriental storage jars. Decoration is spontaneous, including drawing on the clay while it is still wet and layering slips and glazes in an abstract expressionist manner. No doubt influenced by Japanese aesthetics that fascinate him, together with his lifelong passion for Jazz.
RETURN TO EXHIBITION