Penny Green | Referencing the past through contemporary figurative sculpture
CC: How did you first get involved in working with clay?
PG: I started making hand-painted plates and chargers. After a time I took the Ceramics Diploma course at the City Lit with Kate Wickham, Robert Cooper, Annie Turner and Sarah Radstone. This all-encompassing course established a store of making skills and encouraged innovation and enquiry within the field of ceramics. This has given me flexibility in my work which enables me to approach each new project, whether it is site-specific or domestic artworks in an appropriate way. I tend to do much research if what I am making relates to a historical place or person, along with lots of clay, colour and glaze tests.
|Penny Green | Wildwomen|
PG: For the new work at Contemporary Ceramics, I started exploring the idea of Wild women, this partly came about from a holiday photo in my workshop of Wild men sculptures at the entrance of Valladolid Cathedral in Spain. Previously made birds and nests have crept in, they are symbolic of birth and regeneration and I am planning to work more on this theme.
I wanted to make larger more curvaceous womanly body shapes and have recently started using Earthstone Architectural hand-building clay, which is ideal.
For a few years, I have had a reproduction of Piero Della Francesca’s Baptism of Christ in the workshop. It’s very enigmatic and I like looking at the composition and the way figures interact.
CC: How do you work?
PG: I enjoy working in my workshop making my funny pieces but I also love working with other artists and specific groups to make ceramic works for public places.
Working with clay gives joy and pleasure and it is heartening to see pottery becoming popular again after the shocking closures of many courses.
|Penny Green | Lady of the Wild Things|
|Penny Green | Dotty Man|