"The work aims to highlight the potentials of ‘leftover’ spaces - sidewalks, rail tracks, edges, vacant spaces - fragments which are often overlooked yet embedded in the fabric of cities and people’s lives. They are everywhere - we pass by, through or over them everyday, although often ignored. Some are more persistent than others, some are situated in sites in which they can afford to grow, to thrive. "
"Compared to the manicured public spaces within a fast-growing city, these pockets can be seen as a celebration of the untamed - these territories may serve as subtle reminders of pure natural processes of growth, migration and decay. Just like the buildings erected, the people present and the events that happen within, the presence of untamed nature occupying leftover spaces also contributes to a place’s narrative. Even in areas characterised by redevelopment, undefined pockets still exist, and within these discrete fragments, no matter how big or small, nature is presented with the opportunity to thrive."
Katrina Galea is a Maltese architecture graduate interested in the intersection of natural landscapes, materiality, culture, representation, and systemic processes.
Cyanotype Print on organic cotton
H. 120 x w. 50 cm
Available to purchase
Inspired by immersive moments in the natural environment - being bathed in warm sunlight, encircled by green foliage, and floral gardens - Vivian Ge is a London-based multidisciplinary textile artist. Drawing on the philosophy of “dwelling poetically on the earth”, her creative use of colours, textures and forms evokes a joy of life and a tenderness of healing.
Vivian harnesses the sensory experience elicited by textiles and our sensibility for colour, pattern and surface to create soft, relaxing, refreshing environments. Designing her own original patterns and materials allows her to select naturally therapeutic qualities that promote tranquillity.
With many experiencing barriers to nature and the outdoors - whether climate, societal, psycho- logical or physical, Vivian’s artworks bring pleasures of the outside to the inside. Existing both physically and in the digital realm, they cultivate opportunities for people to embrace the principles of biophilia in the Morden city.
Vivian's works have been exhibited and sold at worldwide exhibitions and fairs such New De- signers in London, and have been featured in Harper’s Bazaar UK. A graduate of the Winchester School of Art, UK, and with a Masters in Textiles at the Royal College of Art, London, Vivian works across team projects and commercial practices alongside her individual projects.
A Piece of Garden I
Natural dyed yarns
88 x 63 cm
(Middle - Left)
The Garden Vase I
Wool and cotton yarns, Flex Foam
15 x 12 x 12 cm
(Middle - Right)
A Piece of Garden II
Natural dyed yarns & PLA
30 x 10 x 8 cm
The Garden Vase II
Natural dyed silk yarns & Flex Foam
32 x 7.5 x 4.5 cm
'I make pots. Pots to be used, pots to be looked at and most of all pots to be enjoyed.
'A variety of different voices inform my work, from East to West, Korea to Marshall, Karatsu to Button. I hope that the combination of these influences and personal endeavour lead to pieces of work that have a subtle beauty that only clay can allow to happen.'
Tim Lake is a highly respected British potter, living and working in Carmarthenshire, Wales. Starting his career with a foundation course at the West Surrey College of Art and Design (now the University for the Creative Arts), he went on to do a Studio Ceramics degree at Falmouth University, graduating in 1998. His work has been featured in exhibitions internationally, particularly in the USA and Japan.
Tall Squared Bottle
Textured iron rich stoneware, dipped & poured FFM glaze, H. 31.5 cm
Tall Lidded Jar
Stamped iron rich stoneware with maker's FFM glaze, H. 19 cm
Thrown and Carved Teabowl
High iron stoneware, brushed slip, with maker's FFM glaze, h.7.5 cm
(Third - Left)
Pair of Slab Built Trays
Iron rich stoneware with Dolomite and Ash glazes, 21 x 9.5 cm
(Third - Right)
Ash Glazed Caddy
High iron stoneware, brushed slip and hardwood Ash glaze, h. 13 cm
Ash Glazed Footed Cup
High iron stoneware, brushed slip and hardwood Ash glaze, h. 9 cm
Wall Plate/Serving Dish
Thrown, cut and constructed iron rich clay, white slip and dipped and poured FFM glaze, 27 x 24 cm
Set of 5 Little Cups
Thrown and textured stoneware clay, various slips and glazes including a Cornish River silt and a bottle brush seed pod texture, all h. 7 cm
"My work revolves around the idea of beauty and simple aesthetic forms. Nature plays a large role in my inspiration for both the design and decoration of my pieces."
"I endeavour to create a one off surface each time by capitalising on the unique characteristics of the plants and other organic materials I collect while walking."
"As a maker, I have the capacity to exploit the variables of surface, form and scale. I don’t necessarily want the surface to look too contrived or for each plant to be clearly identified on the surface. I look for a random, layered and abstracted finish to the surface."
"The vessels are thrown in white stoneware or semi porcelain and are then highly burnished, while making sure not to remove all throwing marks. This is to encourage the fuming process and to capture the delicate qualities of the materials I use in the fuming process."
Saggar Fired Vessel I (2022)
H. 29 x dia. 14 cm
Saggar Fired Vessel II (2022)
H. 22 x dia. 16.5 cm
Imogen is a ceramic artist based on the Dorset coast. Her forms are imbued with the narrative of the landscape, incorporating foraged materials and wild clays. "Now more than ever we need to reconnect with the earth and honour what it provides for us as humans." This recent collection was developed while artist in residence at Poole Museum. It incorporates woven elements which are made with ghost fishing net fibre. The raw materials used – clays, rocks, wood – have all been gathered and processed by hand, inspired by traditional methods.
Stoneware, porcelain slip, layered glazes
H. 26 x dia. 20 cm
Oriel Zinaburg was born in Tel Aviv Israel. He studied fine art at the Bezalel Academy for Fine Art & Design in Jerusalem when he was awarded the Eileen Gray Scholarship to complete his education at the Architectural Association School of Architecture in London. Practicing as an architect for several years, Oriel kept his passion to creating art and especially working with ceramics.
Inspired by nature, art history and the materiality of the clay, Oriel started developing his unique style and approach towards ceramics. His sculptural objects explore the relationship between the artistic act and the fluidity of emotion. His work aims to embody the characteristics of the creative process: an open-ended journey where the final piece is not preconceived but the result of a series of unpremeditated actions. To retain this sense of open-endedness, he uses a collage-like technique in which the fragments are pieced together by intuition and chance.
Hand-built mixed stoneware, glaze, oxide
H. 48 x w. 30 x d. 30 cm
Jane Charles (aka Smallbeans Stitches)
Milton Keynes, UK
"I have been making work with dyed, printed and embroidered textiles for over 12 years. Building layers of colour and texture, adding detail to tell a story is important to my work."
"I like to incorporate an element of vintage reference to my personal work, often inspired by a family member, a vintage find or book. Over lockdown I was able to explore eco dyeing and printing with online workshops and just time to play with new ideas and this work has been developed from those processes. Celebrating the natural world by using its colour and vintage books with stitch was a great process to explore."
Beauty without cruelty (2021)
An eco dyed and eco printed 3d fabric form with hand embroidery, vintage book paper and wire.
Approximately 55cms tall and 35 cms wide
"There are butterfly illustrations suspended in the work, a celebration of nature and tranquillity. If you take the time to look at some of the writing, it is from a book from the 1940’s when butterfly collecting was a popular hobby and gives instructions on how to euthanise the butterflies you have collected and pin them out into a frame without damaging them, oh the irony!"
NOT FOR SALE