Faye Hadfield is a ceramic artist from Bath, England. Whilst studying at Bath Spa University, where she specialised in ceramics and sculpture, Hadfield travelled Linz to study at the university of the Kunst as part of her Erasmus Program. After graduating in 2018, she joined the School of the Damned from 2020 to 2021, an alternative art school where she continued to develop her ceramic and sculpture skills, subsequently completing a residency at 44AD Artspace in Bath.
In the spring of 2022 Hadfield will complete her second UK based residency, at “Clay Shed”, a ceramic school in Bristol where she continued to develop a series of pots distinctly emerging as creatures. Their smushy bodies are made up of clay that has been squashed in her hands and precariously built up into the traditional shape of the everyday vase. As an impulsive maker, the artist’s practice is playful and expressive, allowing the pots to take on emotions of their own, they are immediate and endearing. Their faces look back at you and fill the awkward silence. Heavily painted and built up with layers of colour using slips, glazes, oxide and lustre, the pots have been developed through a mark making process which is intuitive, allowing the artist to be carried away, often drawing inspiration from everyday motifs and sometimes painting directly from thoughts.
Hadfield’s most recent body of work “scary pots”, was born from a desire to push boundaries and invert previous work, taking on a dark otherworldly notion. They are oddities that come from a world of their own, with toothy smiles and carved out eyes, their strange mannerisms lead you to ponder their origin. Whilst developing the series during her time at Clay House, Hadfield found inspiration in 18th century Rococo Ceramics and Architecture. This eccentric collection of work consequently produced, aims to embrace the bizarre and the nonsensical - whilst progressing new designs and redefining her current practice. By responding to these Ceramics through stylistic impulses and intuitively recreating shapes in a heavy handed way, the aim is to show the crude qualities of clay and tell stories by directly enhancing the pots surface. Layers of glaze, oxide and lustre run and seep into each other creating surface patterns on the pots, extravagant handles and tree shaped prongs embellished across the pots arouse notions of the natural world, as if the pots have been unearthed.
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