FLOW GALLERY

"Born in 1985. I have been a self-taught painter since childhood. My deep interest in outsider art led me to work as a support worker for several years, a period during which I also acquired woodworking skills.My transition to ceramics began while working as an antique dealer. Surrounded by Japanese pottery from various eras, I found myself increasingly fascinated by their history and form. Ultimately, I was moved by the primal beauty of ancient earthenware, which inspired me to begin creating my own pieces."   Q: Your work begins with simple, ancient forms. What draws you to these origins? A: I find a dual charm in ancient artifacts; they feel both primitive and remarkably modern. What fascinates me is the sense of a shared, universal sensibility that seems to exist among indigenous peoples across the globe. Q: You speak about materials revealing their own memory. How do you listen to, or respond to what a material is “telling” you? A: By engaging with the material—touching it and altering its form—I connect with my own memories. Ultimately, I reach a point where the memories of the material and my own memories seem to merge and meet. Q: How does your approach shift when working across different materials - ceramics, wood, and drawing? A: In my mind, drawing is more right-brained (intuitive), woodworking is more left-brained (logical), and ceramics sits somewhere in the middle.   Q: Can you describe your studio process and rhythm? A: I create freely, moving between mediums: I turn to pottery when drawing becomes difficult, and shift to woodwork when I need a change of pace from ceramics. In my ceramic work, I use the hand-building (coil construction) technique to create jars. I apply that exact same sensibility and procedure to my woodwork. I use 12mm plywood as the primary material. I cut the wood into donut-shaped rings, which I then stack one by one to build up the form of the vessel. When firing my ceramics, I use a primitive method called “pit firing” (or “open firing”), similar to the techniques used in ancient times and across Africa. Q: What are your favourite tools to use in the studio? A: I have a Kamidana (a traditional Japanese altar) in my studio. It holds a glass of water and a single-flower vase. My daily rhythm begins by refreshing both the water and the plant. I maintain this routine to ground my daily creative flow. Q: Does place influence your work? A: Yes, I believe it does. Last year, I moved to a place surrounded by nature, and the things I see every day have naturally begun to manifest in my work. Lately, I spend time each day observing the small objects I find fallen in my garden.

"In Korea, mountains are visible from almost anywhere. Growing up, I was surrounded by nature and closely experienced its changes and rhythms. I often found myself gazing at mountain ridges, letting my thoughts wander."

Throughout December we have been screening WOVEN at the gallery, with the kind permission of Tristan Hutchinson.  A project carried out slowly over several years, the documentary captures the practice of Joe Hogan and the landscape in Galway that influences his work.  His basketry explores the interconnection between human life and the natural world. Through organic forms made from grown and gathered materials, he reflects on biodiversity loss, ecology, and our place within the living web of things. _   Filmed and directed by Tristain Hutchinson, edited by Bellow Creative, and Original Music by Thomas Hill. tristanhutchinson.com bellow.ie

  Earlier this year I visited the home and studio of potter Tim Lake in Cilycwm, Carmarthenshire. Set at the end of his garden and surrounded by open valley landscape, the studio is shaped by years of making. Tim works primarily in stoneware. Alongside slab-built pieces, much of his work is thrown and turned on a slow-turning kick wheel. Rooted in everyday function, his ceramics are enriched by an openness to variation and chance. There is a focus on how clay and glaze respond to heat and atmosphere, with surfaces retaining a softness that allows the character of the material to remain present. The kiln, built by Tim and fired to high temperatures using a combination of gas and wood, plays a central role in shaping each piece. Glazes and clay bodies incorporate local, unrefined materials, and pots are positioned carefully to engage with the movement of flame. These choices allow the firing to leave visible traces, marking each object with the conditions of its making. The studio reflects this approach: practical and closely connected to the rhythms of family life. His home, a beautiful old village post office, is filled with his ceramics and the work of his partner Rosie, who works in glass and textiles. Visiting Tim’s home and studio offered insight into his aim: to make pots that are functional, responsive to material, and shaped by place.   VIEW THE COLLECTION