I learned the basics of pottery through studying with Su Rogers in Guildford. Re-locating to North Yorkshire in 2010, I continued to develop my practice, specialising in sculptural handbuilding. My base clay is generally a Potterycrafts recipe, which contains a red clay from Derbyshire and buff fireclays from Shropshire.
Joan Eardley (1921-1963) – her wild seascapes of the North-East of Scotland coast.
Judith Glover (2021) Seascape1, image by Carol Clarke, H: 30 cms
These pieces are coiled, using strata of different clays in the base clay. Because the strata are integral to the structure, the interior of the work is as important as the exterior.
This series makes me think also of Turner’s seascapes, such as his 1840 painting Seascape with Storm Coming On and his 1828 Seascape, both viewable at tate.org.uk.
Georgio Morandi (1890-1964) – his quiet still life paintings of tall sculptural vessels arranged in groups.
Judith Glover (2017) Two Trios, image by Carol Clarke, H: 28-33 cms
Each piece is finished with coloured slip in a narrow pallet of tones: grey, charcoal, cream and spice. These are pared-down forms, possibly reflecting the human torso, although they are not age or gender-specific. The interiors are in a contrasting tone of slip.
A development of the Morandi-inspired work features coiled vessels in strata of different clays.
This is technically challenging – each clay has a slightly different shrinkage rate.
My latest pieces, developed in the 2020-2021 lockdowns, are of imaginary landscapes and seascapes. They use flattened coils and inserts of different clays to create painterly pieces.
Landscape2 was featured on the front page of the Northern Potters magazine in December 2020.
All proceeds from sales of my work go to IDAS, the North Yorkshire charity that supports those affected by domestic violence.