Mae Crochendy Nantgarw yn flaengar yn annog, cefnogi a hyrwyddo artistiaid cyfoes sy’n gweithio gyda cerameg. Darparir y Crochendy gofod stiwdio a chyfleusterau i dri ceramegydd godidog sy’n creu, tanio ac yn dangos eu gwaith newydd ar y safle. Maent yn rhannu eu sgiliau gydag oedolion a phlant mewn gweithdai rheolaidd yn y Crochendy.
Freya James – Thrower
Freya is a senior ceramics instructor at Nantgarw China Works and an accomplished thrower on the wheel.
Huw Raine – Mouldmaker
Huw Raine is the resident mouldmaker at Nantgarw China Works developing traditional plaster of paris moulds for slipcasting Nantgarw Porcelain.
He also offers bespoke ceramic design consultancy, servicing potteries, product designers and architects. Specialising in ceramic mould making, prototyping and batch production.
Huw Raine is a Central St Martin’s College of Art and Design graduate where he studied Industrial and Studio Ceramics specialising in mouldmaking.
Sally Stubbings – Ceramicist
Sally Stubbings is the principal ceramicist at Nantgarw China Works and has been instrumental in rediscovering and recreating the original recipe for Nantgarw Softpaste Porcelain.
Well rounded in all aspects of ceramics her primary focus is on porcelain which is either slipcast, wheelthrown or handbuilt.
Sally is responsible for slipcasting our Nantgarw porcelain commissions and is also an accomplished artist and ceramic enameller.
Away from working with Nantgarw porcelain Sally’s practice has been inspired by ‘Blanc de Chine’ produced in Dehua, the capital of the Fujian Province in Southwest China. This came about as a direct result of a visit to the ‘Fragile’ Exhibition at the National Museum of Wales at which she was very interested in a small bowl which had been produced at the Bow factory in London. She researched this item and found that the influence for the bowl was Blanc de Chine.
Blanc de Chine refers to the ‘White of China’ and it is the quality of surface that can be achieved in the porcelain that has inspired my work. I am also intrigued by the fact that Dehua was often left with part of a foot unglazed in order to show the ‘nature and beauty of the underlying clay’. I have always felt that when you completely enclose porcelain with a glaze, something is lost.
The other influence on this body of work came as a result of attending a print making course. I fell in love with the patterns that are produced with this media. I then worked on the surface of the clay with an erosion technique which has given me the marks that I searched for in my work.
Some of my pieces have colour applied to the inside in order to add a contemporary twist and also to add an inner warmth.