Ok, I understand
Cookie Notice: This site uses cookies. For more information, please see our privacy policy.
Skip to main content

Arabella Ross

About Us

I utilise past experiences and personal photographs of different cultures from travelling to India and Japan which influence natural, earthy qualities in my pieces; like Himalayan mountain shrines which contribute to the subtle colour and coarse texture of my sculptures. The forms, history and atmosphere of abandoned industrial architecture and machinery fascinate me and translate into the geometric, asymmetrical and raw nature of my uninhabited clay structures. Concepts of “home” and dereliction relate to the essence of containment in myself and my work.

The narrative for my work begins with memories; the early childhood years, the adolescent memories and left traces, ( photographs, attic rooms, orchards. ) They are fragments of memory, what a home felt like, what it`s potential could be. I draw on imagery of exposed and sunlit interiors, rooms with peeling paint and drawings on the clay echoing childhood drawings attached to kitchen walls and doors.  My current piece of work titled "I am a House" references the appearance of a dwelling that has been emptied and the front facade taken away.  With the architectural box like vessels there are visual clues to windows, room shapes and doors.

 The surface qualities of my glazed work are closely linked with my painting and printmaking.  I work in stoneware with a palette that has inclined towards a more subtle ceramic colour.  Colours of the earth and what time has left intact.  When mixing my colours I often spoon in the oxides and powders that I have learnt from experience will give me a richness that I am seeking along with my few chosen glazes. 

The thread of dereliction running through my work is fundamental as it makes reference to past history and the memories contained within.  The imagery is there in my mind when constructing and assembling my sculptures.  I know the atmospheres of the abandoned and disused factories I have visited and sat within and alone for hours drawing.......just me, pencils, sharpener and sketch book. There is an element of danger too that the rusted machinery may give way.  This gives a heightened sense of needing to record my observations to express some of the essence of these heirlooms of industrial majesty.  I see the ceramic vessel as a container for emotions and that decay is a powerful visual image and metaphor.

 
  

 

 

 

 

"Himalayan Cowshed" Chun glaze 2017 "Himalayan Cowshed" Chun glaze 2017
Industrial structure.  stoneware 2017 Industrial structure. stoneware 2017
Machinery from disused factory. Stoneware 2017 Machinery from disused factory. Stoneware 2017
In the studio analysing work and glaze preparation In the studio analysing work and glaze preparation
Himalayan dwelling and shelter. Shino & Chun glazes and fired to Stoneware. Himalayan dwelling and shelter. Shino & Chun glazes and fired to Stoneware.
Porcelain curved form with a Chun glaze and mixed oxides. Porcelain curved form with a Chun glaze and mixed oxides.