Quartz will be open to the public from October 7th - 17th, inclusive, from 11.00am until 5.00pm.

Last year's exhibition sold over £35,000 of work at prices from £200 to £2000.

Artists & Sculptors

We always welcome the chance to look at work by new artists and sculptors for consideration (open to artists living in the South West). If you are interested in taking part in the Quartz exhibition in October 2009, please get in touch by clicking on the e-mail link here. Tell us a bit about yourself and if possible include a JPEG image of your work. Alternatively, ask for an application and Conditions of Entry form to be sent to you.

Charlotte Lampard, Curator

Richard Brown

Richard Brown is sculptor of some repute in his native Scotland, winning several awards, and producing large scale stone-sculptures for major commercial clients and smaller works for gallery sale world wide. Since moving to Bristol in 2000 he has concentrated on smaller scale conceptual work in mixed media. His recent work, while dealing with serious topics, is usually humorous and accessible to a wide audience.

Richard Brown

Joanna Burchell

"I use barbed wire, steel and copper to draw my sculptures in the air. The loose and open quality of them creates a more transient piece that will not dominate a space but become part of it, emerging from the background as the light and weather change."

Joanna Burchell

Tom Clark

Tom works mainly in limestone, strong, bold, clean, moving lines.

Tom Clark

Zoë Cull and Alex Evans

Zoë Cull and Alex Evans are designer-stone carvers working together as 'Stoneform'. Their diverse output includes functional and ornamental pieces - including letter cutting - with a strikingly contemporary aesthetic.

'Inspired by nature, geometry, architecture and symbolism, we aim to create works which are visually rewarding, thought-provoking and engaging on a sensory and cerebral level. We use traditional tools and techniques to ensure we are always responsive to the character of our raw materials, while our regard for archetypal principles of proportion lends elegance and timeless appeal to our designs.'

Zoë Cull and Alex Evans

Toni Davey

The idea of the flat plane appearing to gradually come to life by moving from two dimensions into three, whilst losing none of its original surface is a concept that fascinates me.

Recent pieces have been made from a single sheet of paper with nothing added or taken away.

'To draw, to cut, to score, to fold, to weave, two dimensions into three: manipulating light and shadow, the surface evolves'.

Toni Davey

Melanie Deegan

My work is strongly influenced by the desire to capture movement. The challenge is not just to suggest the action of an animal or figure in motion but also to give them a sense of purpose. Sometimes this can be as simple as trying to indicate the intention, the feeling of energy contained in the muscles prior to the realisation of activity.

Melanie Deegan

Jenni Dutton

Jenni Dutton uses the subject of the female body and clothing to work with the concept of absence and transformation, exploring associations around memory through her mixed media constructions.

"I always loved dressing up and stories where the dress is evidence of transformation. I love clothes, old clothes and the memory associated with cast-off dresses," she explains.

"I started to make suspended forms as dresses, the dress being the skin that had absorbed the life of the body once inside it. I work quite intuitively, the process of the making often dictating the development of the piece. None of thedresses can be worn."

Jenni Dutton

Annie Field

Annie Field spent many years as an interior designer. The Sculpture Academy, near the Tate Modern, then beckoned. She trained there for four years. She is a member of the South West Sculpture Academy and the Chelsea Arts Society. The National Maritime Museum has just commissioned a sculpture portrait, amongst many others. She is also a passionate painter and photographer.

Annie Field

Felicia Fletcher

Felicia creates conceptual sculpture in bronze, stone, wood and scagliola, reviving the use of this material which is virtually indistinguishable from marble. She produces timeless, flowing forms which seem to resonate deep within the observer in a synergy of balance and harmony.

Felicia Fletcher

Joseph Harrington

The essence of my work is time and a sense of progression.

In my resent work I sculpt in ice to create the initial form and as works in there own right. My intention with the ice is to harness its movement and transience, within the fluid yet permanent nature of glass.

The ice is eroded and sculpted with salt then cast into glass, capturing a moment in time as the ice is melting. This thawing of ice provides a physical time frame to work within, heightening the importance of artistic judgment and decision-making. I take a plaster mould directly from the melting ice, creating a three dimensional photographic negative of the ice and moment in time. The surface that is created is an imprint formed from at the moment of the solid ice forming into a liquid and the liquid plaster becoming solid. These create works in their own right; shown in 'Plaster Cavern' with extensive erosion with the salts, create immensely detailed plaster structures.

I have a fascination with turning one thing into another, the reaction of materials and energies acting upon each other. This direct approach provides an energetic spontaneous working method and creative mindset. This energy lives on within the work, giving a sense of progression and evolution within a solid permanent form.

Inspired by architectural materials and tools, the forms contradict the fluid irregular surface with the strength and stature they evoke. Some of these also provide small landscapes and cavernous worlds.

I aim to suggest an element of layering within the work, from the masculine strength of the form to the fluid surface textures and detailing. With the wisps and internal qualities of the glass, creating spaces within the work. The more the work is studied the more these different aspects can be explored. Providing a piece of work that cannot be read in a moment. Each time it is viewed a new element can be seen, developing a relationship between the viewer and the work.

Some of my later work has been working with ways of making the work interact with itself through the use of different materials creating a sense of harmony or tension and placement within the work. With elements attaching them selves up walls and around corners on a more architectural scale.

Joseph Harrington

George Hider

George Hider works from his South Somerset workshop - cutting, bending and welding recycled and scrap steel to create striking lifelike forms.

"I enjoy a physical challenge. Cold steel is unyielding to work with. It involves a lot of hard manual work. I form soft curves (the flank of a stag for example) and swirling shapes (antlers and horns) in my sculptures but leave some hard lines as a reminder of the nature of my medium," says George.

George Hider

Bruce Kirby

Bruce Kirby worked as a geologist before training at Weymouth College of Stonemasonry and becoming a stonecarver. Throughout his life a love of rock-climbing on mountains and sea cliffs has been an inspiration; both in terms of the marvels encountered and the rock architecture. The contrast between a single precise chisel mark created in a second and the vast time scale associated with the creation of rocks and the landscape provide him with endless scope, motivation and ideas for his work.

The Earth Cubes are part of a series based upon folded quartz veins seen in Nepal. Although they are based on a small scale geological features, their form also mimics large scale features such as rivers seen in satellite imagery.

The Cubes draw ones thoughts towards the enormous volume of rocks beneath our feet that make up the earths crust.

Bruce Kirby

Katie Lake

Designer maker Katie Lake, an established South West based Artist, produces distinctive metalwork for interior and exterior environments and specialises in garden products and ‘one off’ furniture pieces, often combining steel with glass elements. Her ranges include; bespoke beds, lighting, garden furniture, fire baskets and accessories, gates, railings, and sculptural pieces.

Her work is often described as quirky, colourful, funky and elegant, utilising very simple design elements to create pieces with impact and humour.

Katie will accept commissions for public and private work. Her work is available in National Trust properties, galleries, craft centres and sculpture gardens nationally.

Katie Lake

Alwyn Lindley

All sculptural and ceramic work is strongly influenced by the the natural environment. Some works are representational, others abstract. Sculpted in stoneware clay, each piece is individually made and may be glazed or treated with a variety of media and waxes to achieve the appearance of a bronze patina.

Alwyn Lindley

Ian Marlow

Works by Ian Marlow explore the way nature effectively creates a balance that is visually stunning. These are the forms that surround us everywhere yet which few of us have the time to see or appreciate - the seed pod sprouting, the tip of the vine that twists and curls, the fish as its swims, the bird in flight, the tree as it bends in the wind, the blade of grass weighted down with rain and that drop of water just about to fall from its tip.

Ian's latest series of sculptures are his way of providing us all with the opportunity to share the wondrous simplicity of this natural phenomena, and yet they express much more than just balance; they are works of incredible form and beauty.

Ian Marlow

Pete Moorhouse

Pete Moorhouse studied Sculpture at Bristol School of Art and Design. He has exhibited widely, undertaken major commissions and teaches sculpture workshops.

Many of his works are inspired by natural forms found in the environment or in the human figure. The sculptures have strong visual impact and range from abstract pieces to representational work. They have a similar minimal aesthetic, having clean lines and pay particular attention to form and negative space. The sculptures play with the light as the sun catches the different faces of the metal creating subtle changes according to the time of day and season.

Pete is currently working on a new body of work exploring internal body landscapes supported by the Arts Council.

Pete specialises in creating steel sculpture that is durable in the outdoor environment and undertakes private and public commissions.

Pete Moorhouse

Thrussell & Thrussell

Artist Metalsmiths: Gary and Thomas Thrussell (Father and son)

We work in mild steel, copper and stainless steel using forging welding and sheet metal working processes. We produce public art and our own collections of organic sculptures, working from our studios in the heart of Bodmin Moor. Our public sculptures are influenced by local heritage and culture. We feel ownership by the community is essential and very important in our work. We are also influenced by the art Nouveau period for designing our sculptures, this connects with nature and comes out mostly in our insect sculpture which we study in great detail. Our working process starts off with the study of the subject followed by pattern making and model making in 3D especially in the heritage work. Our work can be found nation wide in the towns of Brentwood, Braintree, Bodmin, Basingstoke, Colchester, Camborne, Coventry, Halstead, Maldon, St Austell, Saltash. They are found in public spaces from Natural History Museums to the Eden Project cycle trail, our largest piece is in Brentwood town centre nr London. We have just completed two large insects for Basingstoke council.

Thrussell & Thrussell

Clare Trenchard

When I make a sculpture it is the essence of the thing I am trying to capture rather than a likeness.

Clare Trenchard

Chris Webb

I work primarily in Portland Stone, creating pieces that are sometimes made from figurative drawings and sometimes carving direct into the stone with an abstract mental image to guide me. I enjoy carving to develop the visual form as well as experiencing the tactile qualities of the stone.

Chris Webb

Tom Wood

Tom Wood works primarily with stone, wood and discarded objects, already reshaped by their environment. The sculptures echo the natural world whilst suggesting an actual function whether real, (for example nesting sights and bird feeders), or imagined.

Tom Wood

Zac

Zac's work is inspired by nature. He feels that Nature in its most basic form comprises energy. It is this energy that Zac feels we are inextricabley linked to, economically, socially and spiritually. Whilst making the work, Zac is very aware of our ever increasing appetite and consumption of our natural environment’s resources. As a result of this exploitation, Zac feels we have become divorced from nature. He hopes that by fusing the mediums he uses, manmade with organic, that the viewer will not only be inspired and reconnect with nature but will also be reminded of our precarious symbiotic relationship that we have with our natural environment.

Zac