|
commissions • exhibitions • artist’s statement • articles • awards
curriculum vitae
| 1956 |
Born Catherine Russell Winckworth, King Williams Town, South Africa |
| 1977–79 |
Completed National Diploma in Ceramics at Witwatersrand Technikon |
| 1981–83 |
Operated ceramic teaching studio in Johannesburg. Taught ceramics part-time at St Andrews School, Bedfordview. |
| 1987–97 |
Worked in the Information Technology Industry in Recruitment. Moved to Hertfordshire, England, working in IT industry.
Participated as student in ceramic workshops in France (Adele Goulty), England (Peter Reynolds), and Italy (Takeshi Yasuda).
Returned to S.A. to pursue full time career in ceramics, teaching from home based studio and producing work for various galleries.
Participated in 8 week ceramic history course (Suzette Munnik).
Majolica workshop with Ian Calder (Natal University). |
| 2000 |
Ceramic tour to China. Returned to Wits Technikon to revise Ceramic Science |
| 2001 |
Attended ceramic workshops by David Walters, Hennie Meyer, Ian Garrett.
Participated in field study tour of rural potters of Kwa-Zulu Natal led by Hilmar Eichoff |
| 2002/3 |
Studied BTech. Ceramics, Wits Technikon, passing with distinctions in Theory of Art & Design and Ceramic Practice IV.
|
| 2003 |
Participated in Master Classes with Lindsay Scott and working with rural potters of Kwa-Zulu Natal, organised by Suzette Munnik.
Led two workshops on Slip Decoration for Association of Potters of Southern Africa |
| 2004 |
Moved to Underberg in KwaZulu Natal.
Established The Underberg Studio featuring a ceramic teaching studio; photographic and ceramic art gallery; creative workshop centre. |
2007-Present
|
Continues to manage and buy work on behalf of The Underberg Studio. In addition to making work for sale at The Studio, Catherine also supplies work to a number of selected galleries in Pretoria, George, Clarens and Cape Town. |
back to top
Commissions
| 2000 |
ABSA bank. Limited edition of Raku presentation plaques for senior executives. |
| 2000 |
Mural (10 sq metres) for physiotherapy practice. |
back to top
Exhibitions
| 1979 |
Group exhibition with Phillipa Hobbs, and Rose Wilson in Benoni |
| 1980–83 |
APSA (Association of Potters of S.A.) Regional and National exhibitions |
| 1983 |
Group 'Teapot' exhibition, Things Gallery, Melville, Johannesburg |
| 1997 |
First National Bank Vita Craft Now Exhibition, Pretoria (Merit award). Group exhibition 'Less is More', Elsbeth Burckhalter Gallery, Group exhibition 'Black and White', Kim Sacks Gallery, Johannesburg. APSA exhibition 'For the Table', Gencor Gallery at RAU University, Johannesburg. APSA Regional exhibition. FNB Vita Craft Now exhibition, Pretoria. Group Summer Exhibition, Johan Smith Gallery, Clarens |
| 2001 |
Invited to exhibit with FNB Vita Craft at Karoo Arts Festival, Out of the Blue' group exhibition, Belville Gallery, Cape. Invited to exhibit at Art Alive with other artists in Pretoria. APSA Regional exhibition Pretoria Art Museum (PSMO Award). APSA National exhibition Cape Town (Mollie Fisch Award for Handwork) |
| 2002 |
APSA 'The Kitchen and Beyond' exhibition, Potchefstroom. APSA and FNB Vita combined 'African Earth' exhibition at Museum Africa ('Fabric of Africa II' bought by Princess Maxima of the Netherlands for her private collection.). SASOL - Wax art exhibition. Entry bought by SASOL for their private collection. |
| 2003 |
Btech Ceramics Student Exhibition at Bamboo Gallery, Melville |
| 2004 |
Invited as part of Group Exhibition entitled ‘Fired Earth’ at Indigo Fields Gallery, Natal Midlands.
|
| 2005 |
Exhibitor at Teapot Exhibition at Johan Smith Gallery, Clarens.
|
| 2006 |
Ceramics SA Natal Regional exhibition in Durban
Ceramics SA National exhibition in Cape Town.
|
back to top
Artist’s Statement
Since 1998, when I returned to working full time in clay, my work has revolved around textures – particularly the textures found in lace and basketry.
The clay’s natural ability to echo some of the qualities of these materials intrigues me.
Much of the lace I use was inherited from my Grandmother, or given to me over time by various friends and associates. As the lace can be used over and over again, it provides an endless source of pattern to be designed into unique statements. No two pieces are ever the same.
By using paper clay (clay with added cellulose) I am able to create fine, light ware that is often mistaken for porcelain until more closely scrutinized. The penetration of light through open areas of pattern, has become an important theme in the work.
Most of my work is handbuilt using paper clay. I use various sizes of bisque bowls (which I make on the wheel), which act as supports and formers while the bowls are drying.
All the work is bisque fired to 1080c then glaze fired to 1100c in an electric kiln. I have endeavoured to keep the work ‘warm’ and organic by choosing to work with a white earthenware body, along with a few transparent, coloured glazes, with rubbed in oxides to ‘soften’ and define the work.
back to top
Articles
Author of several articles in local National Ceramics magazine including ‘The stimulation of creative growth’ (Number 70 – Summer 2004)
Co-Author of ‘Visiting Potters in KwaZulu-Natal’ in international periodical Ceramics Technical (May 2002)
Featured in article ‘Catherine Brennon Finding Her Way With Clay’ by Catherine Gargan in international periodical Ceramics Art & Perception (2004 Issue 57)
Awards
|
1997
|
First National Bank Vita Craft Now Exhibition, Pretoria (Merit award) |
| 2001 |
APSA Regional exhibition Pretoria Art Museum (PSMO Award) |
| 2001 |
APSA National exhibition Cape Town (Mollie Fisch Award for Handwork) |
back to top
|
|
|
