Alison Moger is a textile artist who works in traditional stitch and print while exploring narrative qualities.
Alison graduated from Swansea in 2005 with a BA (Hon) as a mature student and went on to study for her MA in Textiles from Swansea Metropolitan University.
She says of how her work developed:
'My work as an artist has evolved from my experiences as a child within the South Wales valleys and explores traditional stitch and print, reflecting on the working class values of community life with its humour and warmth.'
In terms of technique Alison combines stitch-work and a mix of print and collage to create her textile works. She uses vintage fabrics and worn domestic textiles to create these collage like needlework pieces.
Much of Alison's work draws on the imagery and use of a tablecloth, for which she draws on her memories of childhood. Feeling as though the tablecloth was so significant it conjures 'warm memories' Alison thinks about the memories of school lunchtimes at home and the brightly coloured tablecloth, and the slightly worn edges and faded marks from hot plates and teapot. In talking about her work Alison also thinks about the more formal 'Sunday' tablecloth which would be 'quite different' she says 'These tablecloths would be starched and made from the best linen. These beautifully worked pieces were used almost as a silent statement of how well the women of the house kept it in order.' through all these the tablecloth is woven into memories of 'listening to the adult conversation whilst running my fingers over the stitch-work on the cloth and memorising its detail and technique'
It's because of all these memories Alison says, 'domestic items and the evidence of women’s work will always be significant within my work.'
More recnt work includes a collection called The Fairy Collection. Alison says of this collection:
'inspired by stories of the Tylwyth Teg narrated to me by my grandparents usually around the table after supper, surrounded by a mix of floral teacups and the old teapot, the rhythmic sounds of clinking china and the poring of tea was always soothing bringing a comforting sense of order to the events of the day.'
Alison is currently working as a self employed artist exhibiting nationally and internationally, and also a full member of The Makers Guild In Wales.
She will be giving a talk to our Friends of the Makers Guild on Tuesday 14th May 2019 at 2.30pm.
This talk is open to all and free to attend. For more information on joining our Friends please visit their page here: www.makersguildinwales.org.uk/friends.html
Exhibition Makers Guild WALES UNTIL 31ST mARCH 2019.
Celebrating their 50th Anniversary as Potters, this is the perfect time to welcome a join exhibition by David and Margaret to Makers Guild Wales. They first trained in the oriental tradition at Stoke-on-Trent College of Art under ex-Leach apprentice Derek Emms before establishing their first pottery together in the mid-1960s. Their work follows the inspiration of reduction fired stoneware and porcelain came from the Orient and reached its height in the Sung to Ming Dynasties in China. This was popularised, and passed on in Britain and Europe by Bernard Leach. The father of the British Studio movement united the aesthetics of East and West and along with his student, Michael Cardew, his son David and others, started a tradition of high fired ceramics in this country. The Frith’s follow this way of working, while of course making it their own, and creating their own distinctive style.
A career as long as David and Margaret's will be varied. In 1963 David describes them adds ‘totally naïve in business acumen’ but they were already committed to making a living from their craft. In the pottery today is a picture of them working in their first pottery workshop in the mid-1960s. Emmanuel Cooper, writing on them in 2003, described it as ‘evocative of industry and application, of two potters applying themselves to their chosen profession’.
This first workshop was a dream of the Frith early on- they had always intended to set up a working pottery making pots that drew on local traditions. In the picture described above, Margert is throwing an old-fashioned industrial Willet’s Wheel . Based at Brookhouse Pottery in Denbigh they have been making work since 1963. In 1976 they moved to The Malt House, where they continue to work today. Their workshop is a mix of working pottery for their own work, and a venue for residencies and workshops.
Described by Philip Hughes, in his introduction to this exhibition as ‘a true phenomenon’ it is true there are few like the Frith To sustain their creative work for such a length of time, especially in our current climate is a phenomenal achievement. Their style and interests have naturally evolved over the years, but they still retain a great deal of their inspiration and artistic interest from the start of their careers. Passionately committed to earthenware pottery for use or display in the home. They now have moved from the original earthenware to high-fired wares, stoneware and porcelain. But as Emmanuel Cooper notes in his introduction to their current exhibition, ‘Some Forty years later the ideas that first inspired them remain as fresh and relevant as ever’
David and Margaret have exhibited around the world, as well as travelling worldwide to seek inspiration for their work. This has included trips across Europe and New Zealand, visiting Africa, India and of course China and Japan, the styles and history of which were intrinsic in their style. The Frith visited both countries in 2000, well into their careers and after their training with Leach, after many years of influence from these cultures and pottery styles. During this visit in 2000 they were able to visit Mashiko Pottery in Japan and invited by Furuki san to undergo a residency in 2001. While on this return visit the Frith took work for two exhibitions, showing their work in Shun Gallery Tokyo and Tokyo Gallery Mashkiko.
Philip Hughes, director of Ruthin Craft centre, comments that ‘David reaches for the moon while Margaret brings him back down to earth’ in a neat summary of their partnership that has endured and flourished creatively for 50 years. As some of our longest standing members Craft in the Bay is thrilled to be hosting the first solo exhibition by the Friths here.
Additional information and quotations from the exhibition catalogue. With thanks to Ruthin Craft Centre.
The Exhibition runs until 31st March at Makers Guild Wales.
Free Admission, 10. 30- 17.30 Daily .
Emily is digital content creator for Makers Guild Wales. She manages our social media and website as well as writing and curating the blog. She is a also an academic and arts journalist.
Photography has changed, expanded and even deluded our perceptions. It is a vessel of memory, yet also a corrective instrument thereof.
It testifies to the disappearance of things, to the ‘state of the world in our absence’ while at the same time producing images that simulate reality.’ Jean Baudrillard
This statement forms the foundation of ‘With Other Eyes’ an exhibition which explores the relationship between photography and art. For some the photography is a source of inspiration, for others it becomes integrated into their work. In both cases it is an integral part of the artistic process.
In this exhibition curator Beate Gegenwart has sought to illustrate each individual artist’s approach to this. This results in an exploration of each individual’s approach to photography and the union and even conversation between the work and photographic imagery. In selecting a wide range of artists from jewellery to large-scale installation, the exhibit shows the real range of ways and means photography can become a part of the work- as well as the inspiration behind it. For some of the makers photography has always been a central part of practice, for others it is a new exploration.
In this exhibition all the makers work in metal, and this provides a chance also to explore the many ways one medium can be utilised. For some the photography was a ‘hidden’ research tool somewhere in the process. In these cases, a true ‘other eye’ allowing them to explore inspiration, practice and process from an additional point of view. For others photography’s ‘other eye’ is providing additional perspective as part of the work- integrated into its photography adds another dimension, indeed another ‘way of seeing.’
The use of enamel offers a striking exhibition, with photographic elements positioned alongside the artist’s work offering a new insight into some familiar artist’s work. This exhibition also pulls together a diverse international collective of artists- many of whom have never exhibited in Wales previously.
There is a diverse approach to the format shown. Some Makers such as Ruudt Peters choose to include moving images, in the form of video installation alongside his work. While Bettina Speckner and Beate Gegenwart have chosen photo-etching onto their work- in this case silver, stainless steel and zinc pieces. A popular technique among the work shown is also kiln-fusing into glass and enamel, seen in Melissa Cameron and Tamar de Vries Winter’s pieces.
The idea of re-imagining the photograph in the enamelling process, and as part of the work in this manner is seen in many of the maker’s work- Gudrun Wiesmann and Fritz Maierhofer, being two artists who show work integrating this approach. While Margit Hart uses pigment printing digital images directly onto steel, showing the variety of approaches the use of photography with metalwork can take. Even, in the case of Ramon Puig Cyuas partially obscuring the image under alabaster. Or finally encasing photographic imagery in resin as Rebecca Hannon and Kiko Gianocca demonstrate in their work.
The ways artists interpret and integrate the photographic world into their work is as varied as photography itself. And in exploring the ways in which photography can contribute to the process, many have integrated photography into the work itself.
‘With Other Eyes’ offers an insight into the artistic process through the lens of photography and offers examples of the ways in which photography can be integrated into work in unusual and unexpected ways. Illustrating the maker’s individual approach to photography, examining the union between making and the photographic image in its widest sense. It captures a glimpse of the creative possibilities resulting from such hybrid practice.
With Other Eyes is on at Makers Guild Wales until 3rd March.
Free Admission 10.30-17.30 Daily.
A Ruthin Touring Exhibition.