7 September - 2 November 2013
Our autumn exhibition, At the still point… will feature beautiful wooden vessels made by Anthony Bryant – many from oak grown at Kestle Barton. Alongside these exceptional forms, and in perfect harmony, Kaori Homma’s works on paper will also be showing – using the traditional Japanese method of mark making with fire called Aburidashi Homma has produced images based on the Kestle Barton landscape.
Anthony Bryant and Kaori Homma share an emphasis on the natural materials and processes that create their final pieces, although their materials and techniques differ. A restful, unrefined state of simplicity characterises both collections and together, on show at Kestle Barton – in the restored ancient farmstead surrounded by gardens, Frenchman’s Creek and the Helford River, they share a thoughtful beauty.
At the still point of the turning world. […] Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point,There would be no dance, and there is only the dance.
Anthony Bryant specialises in making wafer-thin vessels mostly of oak that have been turned when wet and allowed to warp into wonderful naturalistic shapes. Bryant has mastered his technique over more than two decades of turning gigantic sections of tree into these exquisite forms for interior spaces. His work in wood is widely exhibited internationally and held in many public and private collections, including: V&A Museum, The Sainsbury Collection, Arizona State University, The Fitzwilliam Museum, The Contemporary Museum, Hawaii, Crafts Council, The Contemporary Arts Society and The Liverpool Museum & Art Gallery.
Anthony is that rare combination of a craftsman who is also an artist…
– David Linley: Five designers he most admires (Financial Times, 2002)
Kaori Homma makes drawings by fire – combined with acid and water to create images that are integral to the fibre of the paper rather than pigment resting on the surface of a page. Through this process limited editions of up to three of the same image can be produced.
Originally from Japan and based in London, Homma uses these transient materials and traditional methods of her native culture to question and explore starting points – and trajectory lines – of perception. In particular the orientation of “east” in relation to other geographical directions and cultural significance: as in East of Eden, where human condition can be described as somewhat disinherited and displaced, and yet at the same time carry the memory of its origin – the garden.
The unique capacity of Homma’s work perhaps resides in a […] capacity not so much to speak but to whisper in a muted, delicate but resolutely distinctive voice.
Steven Adams 1997