Jack Doherty and Sarah Frangleton have been working together in a creative collaborative partnership since 2009. Sarah worked as the Gallery Assistant at the Contemporary Ceramics Gallery at the Leach Pottery 2008 - 2010 facilitating exhibitions and managing the retail aspect of the shop. Curated by Jack Doherty, the exhibitions promoted studio ceramic practice in both a historical and contemporary context and showcased the work of both emerging and established potters including international artist residencies; Koie Ryoie and Tomoo Hamada.
Jack and Sarah have continued working together extensively promoting exhibitions both in the UK and Ireland as well as Taiwan and Japan. Sarah completed an MA in Curatorial Practice at Falmouth University in 2012 and is currently co-curating an exhibition at the Korean Cultural Centre focusing on the ancient Korean Moon Jar form.
MOON JAR; Contemporary Translations in Britain
18th June – 17th August 2013
Celebrating 130 years of Korean-Anglo relations, the Korean Cultural Centre, London, is pleased to present an exhibition that considers the continued relevance of the Full Moon Jar in Britain today. The exhibition explores a contemporary response through the work of four leading potters based in the UK: Adam Buick, Jack Doherty, Akiko Hirai and Gareth Mason and Korean artist Yeesookyung. The Korean Moon Jar or dal-hang-a-ri has an iconic almost mythological status; the artists have each been invited to position their work alongside the historic vessel form re-contextualising it through their individual ceramics practice.
A PLACE IN THE WORLD 2012
A Solo Exhibition of Ceramic vessels by Jack Doherty
Jack Doherty presents a new body of ceramic interventions inspired and made in response to the place where the artist lives and works. The exhibition at Garden House explores ideas around home and function but not necessarily utility. The site-sensitive ceramic vessels and installations have been made in direct response to a home environment actively engaging in the architectural spaces where the work is to be encountered. No longer purely utilitarian, these abstract vessels do not conform to conventional use.
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