info@studio-pots.com	Harlequin Gallery
Rachel Wood Below are a few of Rachel’s pots included in the exhibition:-
No.60 Pinched Bowl. Height: 7.6cm (3.0”) Diameter: 12.1cm (4.75”) Price: £55		No.57 Medium Tea Bowl. Height: 9.5cm (3.75”) Diameter: 12.4cm (4.9”) Price: £55
No.69 Medium Bottle. Height: 19.1cm (7.5”) Price: £50		No.79 Small Tubby. Height: 11.4cm (4.5”) Price: £45
No.48 Medium Torn Rim Bowl. Height: 9.5cm (3.75”) Diameter: 24.75cm (9.75”) Price: £120		No.55 Tea Bowl with a Hole. Height; 8.6cm (3.4”) Diameter: 15.25cm (6.0”) Price: £60
No.62 Tall hand-built vase. Height; 48.25cm (19.0”) price: £250
No.61 Tubby with Flat Base Height: 15.25cm (6.0”) Price: £60		No.72 Medium Tubby. Height: 21.6cm (8.5”) Price: £90
Rachel tells me that her ceramic activity has remained steady since her last Harlequin Gallery exhibition but because she has had a demanding job, as an arts officer for a local authority, it has limited her production and curbed her ability to exhibit as much as she would have liked. However, she has given up this position and is now looking forward to a three-month residency this summer at Rufford Craft Centre, for which she has been awarded an Arts Council grant. Besides preparing for her Harlequin show, Rachel has spent time during the winter assisting Robin Welch on a commission, which forms part of his Rufford show that was mentioned here last month. Rachel states that, “It’s been a great experience and a real privilege, almost too good to be true! Having worked in his workshop over a number of weeks, I’m sure it’s left a mark on my subconscious which will start to reveal itself in my work.” Rachel continues to use stoneware clay for her pots, along with her signature vanadium pentoxide slip and barium carbonate glaze. However, hand building features more predominantly than in the past, allowing for experiment and her continuing exploration of form. There is an increased directness and urgency in the physical manipulation of the clay as well. Throwing remains her passion though, as is emphasised when she says, “I love to explore the rhythm and movement of throwing clay on a wheel, excited by the freshness and spontaneity of the results. My personal intuitive touch is an integral part of my pots. This is evident by a wet hand on a soft form fresh off the wheel, through to an individual hand or fingerprint emphasised by the glaze.”
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