One of the motivations for us to use the Atrium space in our Education Centre for exhibitions is to support local creative endeavour, giving people the chance to experience artwork by both established and up-and-coming artists in our region.
This exhibition features work by local artists Ella Daniel-Lowe (image above), Zariq Rosita Hanif, Erica Daniel-Lowe and Jo Millak. It includes mixed media sculpture, ceramics, paper cut pieces and more. All the exhibits are for sale.
These artists have come together to explore the theme of invasive species within the United Kingdom, the naturalisation of species and how the impact of human influence can destabilise and unbalance the native flora and fauna.
Meet at least one of the artists each day.
We have our amazing Mini Craft Market where our talented local crafters can get together to share and sell their handmade products.
Previous crafts have included: nature crafts, paper crafts, woodwork, paintings, illustration, crochet/knitting, weaving, decoupage, cards, glass, silk painting, textile bags, jewellery, resin art and flood painting.
Held in the Education Centre and is free to enter!
10am – 4:30pm (3:45pm for December Market)
100 Years of Winchcombe Pottery
The world-renowned Winchcombe Pottery celebrates its centenary this year, so to honour the heritage of such an influential Gloucestershire landmark, we are showcasing a collection of early works by Michael Cardew, the Pottery’s founder, and the potters who helped to shape the works we now know and recognise.
There has been a Pottery on the current site in Greet, Winchcombe, since at least the early 1800s, along with its grade II listed updraft bottle kiln, used to wood-fire the early wares made using the abundance of red earthenware clay found on the Pottery grounds near the river Isbourne. The original Greet, or Beckett’s Pottery, which produced a range of farmhouse wares, closed during the outbreak of WW1, but in the autumn of 1926 the site was re-opened by a young Michael Cardew, a recent apprentice of studio potter Bernard Leach, at the Leach Pottery, St Ives. Winchcombe began with a team of 3, made up of Michael Cardew, Elijah Comfort, a potter from the earlier Beckett’s team, and Sid Tustin, a local 14-year-old lad who could mix clay, glazes, slips, and turn Comfort’s potter’s wheel, before becoming an apprentice and later their lead production potter.
This core team of all ages, strengths and abilities, were the ones who built the pottery we know and love today. They produced some of the pieces we have in our collection and on display, with a warmth, tactility, and energy that moves you to be in the presence of. The throwing lines, the marks from the presence of the makers hands, the history and the stories within all of these pieces is what draws us in and humbles us, and indeed why so many of us have them in our homes. Winchcombe Pottery is rich in its history of people; the potters, apprentices, visitors from all over the world, and the many lives it’s touched; whether that be as pots in people’s homes, every day, functional pots used for cooking or serving food, used in restaurants, as it was back in the 60s at Cranks vegetarian restaurant in London, or because it’s been a consistent and treasured part of Gloucestershire for the past 100 years.
Rooted in the arts and crafts movement, the pottery, situated not far from Nature in Art, originally produced earthenware items. In the early years the pots were mostly Comfort’s larger Beckett’s style pieces, with Cardew’s more refined slipware. Production gradually moved solely towards Cardew’s slipware, using the classic English slipware style seen in some of the early pieces on display, with the combing and slip decoration that became synonymous with Winchcombe Pottery from the early 30s.
Founded on Cardew’s early exposure and interest in historic earthenware slipware, along with his training with Bernard Leach, and the obvious connection between St Ives and Japanese pottery, Cardew brought a more contemporary yet affordable, functional, warm and handcraft focused pottery to Winchcombe’s local community and, eventually, to a wider market. Cardew’s passion for throwing, form and decoration is what brought Winchcombe Pottery to the fore, along with a growing team of enthusiastic potters wanting to be a part of the traditional rural Pottery.
The team changed, grew and developed over the years, with potters continuing Cardew’s vision, but also contributing their own unique styles and creative output, all of which have shaped the pottery we know today. Ray Finch joined the team and eventually took over the running of the pottery in 1946, when Cardew left to open a new pottery in Devon. This new era saw the beginnings of the, now, recognisable wood-fired stoneware range, using the same methods, original measurements, and specifications to produce today’s Winchcombe Pottery ‘standard range’.
Winchcombe Pottery, both old and new, is collected and shown all over the world. This exhibition, along with others celebrating the pottery’s achievements, aims to recognise and treasure the true importance of one of the last remaining traditional English Studio Potteries.
We sincerely thank the Edgeler Collection for loaning items for this display.
This exhibition is one a series celebrating 100 Years of Winchcombe pottery. See others at the Winchcombe Museum; the Edgeler Collection, Winchcombe; the Gordon Russell Design Museum, Broadway; Court Barn, Chipping Campden; plus events at Winchcombe Pottery itself.
There will be a private view and launch of the Nature in Art show on 28th July. Click here for details.
PLEASE BOOK your FREE place at this event Click here
Click here for more information about this exhibition
Course Suitability: Suitable for all
Maximum Participants: 12
Course Description:
This workshop highlights our connection to the natural world, encouraging us to slow down, and look closely at nature.
The intricate structure, texture, and beauty of foraged botany, the hedgerows we drive past every day.
The clay impression is used to form a mould.
The mould is flooded with plaster and Cornish stone, creating a positive mirror image of the clay piece.
The clay is removed, and the Botanical relief is revealed.
Just like a Botanical monoprint it’s simple and effective, bringing out all the unnoticed detail.
A really enjoyable and immediate process.
Materials Required:
All materials will be supplied at a charge of £7.50, paid on the day.
Whatever the Weather
One of a series focusing on our desire to highlight and encourage active creative groups celebrating the natural world.
Calligraphy, illuminated and decorated texts, artists books and lettering on boxes, pots and textiles by Gloucestershire Lettering Arts.
Meet an artist every day.
Course Suitability: Suitable for all
Maximum Participants: 12
Course Description:
Join artist Jamie Boots for a three-day exploration into the nuanced world of graphite pencil art. This workshop delves beyond basic sketching, offering insights into the subtle techniques that breathe life into your creations. Participants will discover the art of manipulating pencil sharpness, pressure and tones to convey the fine details such as skin textures and expressive eyes.
Materials Required:
All materials supplied within session.
Price: £186 / £237
Course details:
Come and spend a day exploring the lovely medium of Mono-printing. Carole Bury will gently guide and inspire you through techniques and options of drawing with mono-printing at Nature in Art!
Processes will be revealed needing little equipment, and plenty of possibilities. The gardens and outdoor spaces at Nature in Art will be our inspiration.
Print throughout the day by –
* Drawing and painting directly onto the printing plate.
* Learning to use negative marks, by wiping areas of printing ink away.
* Using objects to create marks in the ink film,
Famously, the painter Degas used mono-print, creating wonderful examples of the process. Not only did he use mono-printing as a method to make base layers for his paintings, he printed expressive drawings, showing how versatile mono-printing can be.
You will have a wonderful time getting hands-on and by the end of the workshop, you’ll leave with a selection of prints.
Materials and additional costs:
Suitable shoes and clothes for gathering information in the grounds of Nature in Art
Please bring an apron
A4 or A3 cartridge sketchbook and pencils e.g. 2B and 4B and 6B
A folder or spare paper, suitable to carry wet prints away at the end of the day.
Printing equipment will be provided.
Cost of £5.00 to tutor for wide variety of suitable papers.
Suitability:
Absolute beginners to improvers
Spaces:
12
Price: £62 / £79
Course details:
What are oil pastels and how do you use them? We will spend the day exploring this underrated medium. In the morning we will learn techniques – from using oil pastel as resist to scratching out details, building up layers, and blending. We will achieve different interesting effects on various papers. In the afternoon, everyone will have the opportunity to create their own piece of artwork using these techniques. By the end of the day, you will have a good idea of how to complete an art work purely in oil pastels and how to use them to add extra dimension to mixed media work.
Materials and additional costs:
Supplied by tutor, £5 cash
Suitability:
Suitable for all
Spaces:
12
Price: £62 / £79
Jess Pritchard. Coloured pencil.
Wild Perspectives
One of a series focusing on our desire to highlight and encourage active creative groups celebrating the natural world.
One World Imagined is an artist collective of 7, whose drive is capturing our natural world, bringing attention to the need to look after it and working with wildlife charities and organisations to help raise funds to this aim. A diverse group, covering a wide spectrum of subject matter and mediums, all are professional artists. Between them they have been shortlisted for the DSWF Wildlife Artist of the Year many times, have won numerous awards for wildlife art and completed large commissioned works. Subjects include all aspects of wildlife, British, African, South American, Asian, Arctic, on land sea and in the air. With work in pencil, watercolour, oils, acrylic and in sculpture, members of the cooperative will be there each day demonstrating and very happy to chat to visitors.
Talk to artists every day about the work on show.