FLOW GALLERY

We were so pleased to welcome Woongchul Park and Bomee Ki, the husband-and-wife team of the Michelin-starred Sollip. Their restaurant features JaeJun’s ceramics within a carefully curated collection of tableware and craft by contemporary Korean makers. Sollip’s approach, shaped by European training, London influences and Korean heritage, shares the same thoughtful making and cultural resonance found in JaeJun’s practice. JaeJun moved to the UK eight years ago on a talent visa, and Flow presented one of his first exhibitions when he began his career here. We are grateful to now host his final solo show as a UK-based maker before he returns to Korea next year, and to be able to share his work with you both in the gallery and now online. Thank you to Woongchul and Bomee for marking Thursday's opening as a special evening with their canapés. _ Captured below are two of the canapés prepared for the opening:  BEEF TARTARE  Highland Wagyu, Aged Gochujang, Daikon Jangajji GAMTAE SABLE Mornay Sauce, Duckett’s Caerphilly, Dashima  

Edmund de Waal came to know Kettle’s Yard while studying English at Trinity Hall in the mid ’80s. As a potter and a writer about ceramics, de Waal has long reflected on how pots have been presented and perceived. Using the variety of spaces in the gallery and extending into the house with its permanent collection, de Waal installed a series of installations, many of them made specially for the exhibition. The first, ‘A Change in the Weather’, offered the visitor a pot for each day of the year. Further on, there were pots in a skylight, on shelves and in boxes, and running along the street-front window sill. In the last space, we were enticed to glimpse into a room – a Wunderkammer – lined and stacked with 342 plates. In the house, smaller installations, such as ‘Ghost’ replaced the normal pots and found their way into bookshelves and cupboards. The exhibition was organised with the Middlesbrough Institute of Modern Art, where it later travelled to. It was grant-aided through the Arts Council England Lottery Fund and by the University of Westminster. - Text & images courtesy of Kettles Yard   De Waal collaborated with architectural photographer Helene Binet, on a series of large plates documenting these installations. Flow is very pleased to present the edition of 'A Change in the Weather,' Digital C type print, from this exhibition. The first edition has its home above the desk at Flow, and at this time of year it just catches the afternoon sunlight.  Helene Binet is a Swiss and French internationally acclaimed photographer based in London, who has captured de Waal's installations and the spaces in which his work is shown, including his studio and exhibition venues. 

Jim and Helen Ede created in their home a new approach to sharing art - a place where objects and beauty were woven into the ordinary textures of everyday life. There was no hierarchy; a grouping of stones would be as carefully placed as a painting.  Kettle’s Yard, as Jim Ede described, was “a space, an ambience, a home.” Every detail was attended to with care - the light, the quiet, the thoughtful placement of each object - so that visitors might feel at ease and experience a living connection to art. “I used to like to feel,” he wrote, “that each newcomer could feel the first to enter in upon that quiet.” "It was while I was abroad in 1954 that I found myself first dreaming of the idea of somehow creating a living place where works of art could be enjoyed, inherent to the domestic setting, where young people could be at home unhampered by the greater austerity of the museum or public art gallery and where an informality might infuse and underlings informality. I wanted, in a modest way, to use the inspiration I had had from beautiful interiors, houses of leisured elegance, and to combine it with the joy I had felt in individual works seen in museums and with the all embracing delight I had experienced in nature, in stones, in flowers, in people." This celebration of creativity, material, and beauty as part of the flow of daily life, continues to guide Flow Gallery. 

Recently, I had the privilege of visiting the home & studio of British ceramic artist Paul Philp, in Bath. Studio and living space blended under his natural palette and ceramic works bordered every room. Pieces in Alabaster, timber and a new exploration in cast & patinated bronze, also showed his forms spreading through mediums. His influences are both architectural and organic: Japanese Minka architecture, tribal and ancient art, and forms found in nature. During our visit, he spoke about his early life - of building a home in stone by hand, and living remotely off the land - a reflection of his connection to materials. Philp’s ceramic practice has evolved over 50 years. His works are largely hand built - fired multiple times with thin layers of slip, organic materials and glazes which create rugged surfaces that feel elemental. The volcanic skins recall the raw geology of clay, yet the forms have an architectural elegance that feels out of time. There is a connection between the work and the space and it was a moving experience to see it in context.