William & Co.

Installations and Editions

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#lifegoals

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Contemporary Bar-ware for East London Liquor Company, 2015

Made for Michael Pendergast at ELLC for Manifesto Mondays: A critical dialogue   

http://eastlondonliquorcompany.com/ 

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Ceramics in Context 

Photographs of my pots in their new homes, taken by their owners.   

London, New York, Austin 

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The best of Confused with Pot, 2014

Exactly what it looks like. 

Straight boys, accosted on the street, and asked to hold my pot. 

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Florence Trust Winter Open 2015

The Winter Open at the Florence Trust is a chance for the public to see what the artists have been up to in the first half of their residency, and get a feel for the Summer Exhibition. It’s also a good chance to see the Grade I Listed Arts and Crafts Style church, St. Saviors. 

Ambiguous Object (wall), Ceramic encaustic tile, 4 x 15 x 15 cm

Babel, Bisque fired ceramic, Dimensions variable, Current height - 115 cm 

Help yourself, Using one of the glazed vessels on your right, Help yourself to the refreshment provided. If you like your cup, leave a donation and take it home.

Commemorative Objects, Ongoing, started 2014, Cobalt pigment, glazed ceramic, Dimensions variable, Archive of 12 portraits 

Rounds, Video portrait, Produced and directed by Sam Norton

Thoughts on Spring, Glazed ceramic, Dimensions variable 

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Bukkakery 2014

Booze and Cake, you’ll leave covered in both.  

A group exhibition of ceramics featuring: Pip Hartle Lenka Kalafutova William Martin Ben Sutton Azem Williams Photography by Holly Parmley

Logo by Patrick Smith Cocktails by Michael Pendergast from East London Liqueur Company Hosted and curated at the Florence Trust by William Martin

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Lineage at Sketch for Community, 2014 

I was trained within an Anglo-Oriental studio tradition. Knowledge is passed on through an apprenticeship system. I did a 6 year apprenticeship with John Bauer in Cape Town, South Africa, specializing in porcelain. I decided to trace my lineage, starting with the father of Anglo-Oriental Studio Pottery, Bernard Leach (far right). 

This series of drawings started with the question, “How do I come to be an Afro-Anglo-Oriental potter?”. The question had a post-colonial bent to it, along the lines of Edmund De Waal’s “Patricidal” biography on Leach.   

I was also interested in depicting my new community in London, which had developed around the bars that I’ve been working in (first left). and digital messaging media (second left), and Turing Earth Ceramics Studio (third left). 

I’d like to thank: Paula Cruz and Gowri Balasegaram for the opportunity to exhibit, Alexandre Araujo for documenting the exhibition, and Lauriston School for all their generous support.   

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Taxonomy installation at Sketch for Community, 2014

This wall installation uses floating shelves to create a graph. This graph represents the family tree of these objects, as they evolve from simple to complicated organisms. Each shelf portrays an evolutionary development, as new processes and features change the object’s form. I imagined the studio as the site of evolution, with function as the driving force, and the market acting as natural selection. Evolutionary theory has affected many disciplines since it’s proposal by Erasmus and Charles Darwin, with both devastating and enlightening results.     

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Spring ‘15 range shot by Patrick Smith at Turning Earth Ceramics, Hoxton This collection of functional objects arose from the question, “If a simple object could replicate itself, how would it evolve?” 

I made batches of simple forms: slabs, cylinders and cones. These were then combined to form potentially function objects. These objects became products that solved water based design problems: a cup, a bottle, and a vase. 

 The modular production process I was developing allowed for a more efficient production of composite objects, but also allowed for some playful mistakes. These mutations, if successful, would in turn be reproduced and become part of the genus of the range. 

 This range is the refinement of the installation I made for my Lauriston School residency, Sketch for Community. I attempted to make a family tree for the objects I’d been producing, tracing back their development as one would a fossil. This was the first expression on my interest in taxonomies, which would again inform my installation at the Florence Trust

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Studio Visit by Ryan O’Tool Collette at Turning Earth Ceramics. 

Making the Spring ‘15 range: 

Thrown cylinder, pinched pot, joining and glazing 

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Studio Visit by Holly Parmley, 2015 

Turning Earth Ceramics, Hoxton

Studio maintenance is really important. Making sure the floor mopped and recycling waste clay keeps the studio running smoothly. There’s nothing nicer than making objects in a clean studio.   

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It feels so great fulfilling all the chain orders. I’m spending time with, and meeting, some really interesting people in the process too. Thanks for sharing your beautiful mews studio with me Ben. I’ve never listened to so much BBC 3 before, but it’s totally worth it. 

Check out Ben’s immaculate porcelain functional ware at:

http://www.benpsutton.com/ 

https://instagram.com/pottedben/

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The first installment of my ongoing Confused with Chain series. 

Next stop; Superstore, RVT and East Block  

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Shelf 1: Portrait, William Martin, Fired and unfired ceramic, 2015

Wearing this porcelain chain during the Florence Trust Summer Exhibition was a way of integrating myself into the installation, as well as extending it into the social realm. The installation was fractal in the way that each component was a microcosm of the rest of the installation. This work was essentially a self portrait, and an exploration around something which was lost. I suppose, for me, this chain acted like a talisman during the show. Much in the same way the character in the short story I wrote to inform the installation needed a talisman for his journey.

http://www.williamandco.uk/product/porcelain-chain

Photo by Chris-Parkes-Esq

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‘Taxonomy’ Installation, by William Martin, 2015 

Photography by Chris-Parkes-Esq

I’d like to thank Lauriston Primary School for the use of their Kiln,

and Arjan Van Dal for the use of the use of his Wheel. 

Without their generosity this show would not have been possible. 

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She works hard for her money. #install #whitecube #domestised #floatmyshelf #contemporaryart RG @florencetrust (at Florence Trust)