Wednesday, 14 May 2008



At the moment I am making ceramic figures which are placed in a setting.
There is a dialogue between where the figure finds itself for example the plinth, orb, diminishing ledge, rocky ground.or falling.
Into these scenes there are lines of poetry, ranting songs, fragments of nature, symbolic trees and emblematic animals.

Penny Green is exhibiting at Preston Manor during the Brighton Festival.

One favourite living artist is Glenys Barton. I admire her because although she works mainly in clay, she crosses many boundaries. She has produced work on a large and small scale of sculpture, portraiture and installation. Every time I see an exhibition of hers, it fills me with hope the future of non-vessel oriented ceramics.

A favourite historical maker is Thomas Toft. I love the fun, naivety and freedom of his large chargers.

Do you work best on your own or in collaboration?
I have not collaborated with anyone for ages but I would really enjoy it. The last time was when I had just left the Slade and worked with the theatre designer Yolanda Sonnabend. Initially I was interpreting her costume designs for an exhibition at the Whitechapel gallery but we worked well together on some huge articulated figures which were padded and stitched and out of that I started to make clothes and somehow ended up being a fashion designer.

What was the last art/craft/design thing you purchased?
Every year we go to St Ives, and the Tate has produced a series of etchings by artists living or associated with Cornwall. This year I bought one by Carl Weschke whose work I have admired for a long time and who sadly died recently.

Last best read (book)?
Currently reading 'A Life of Picasso' by John Richardson - The Triumphant Years 1917 - 1932. Fantastic.

How much do you bend your 'vision' to suit the marketplace?
I would say I don't bend my vision at all. However opinions can have a subtle effect and working on new work can be scary.

Who would you say buys your work?
A surprising range of people ranging from established collectors and museums to people who understand the literary and cultural references but have not bought ceramics before..

How do you set about starting a new project?
It would be wonderful to have a clean sweep but new work evolves all the time and in ceramics we tend to be testing glazes and materials which in turn become the new work.

Do you have a good work/life balance?
I have a useless work - life balance. If I am very busy I just work all the time.

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