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S a r a h   G r o v e

Scroll down to read about how my work is made
Handmade in Britain 2014
Origin 2006 - 1


1992 – 1993              Wimbledon School of Art - Art Foundation  - BTEC Distinction.

1993 – 1996              Camberwell College of Art - BA (Hons) 2:1 Ceramics



2024    Made London, Islington, London

             Ceramics in the City, Museum of the Home, London

              Beautiful and Useful, Sussex Prairies

2022     Handmade in Britain, Chelsea

2021      Art in Clay Farnham

2020    Made Makers online

2019      Handmade in Britain, Chelsea

              West Dean Arts and Craft Festival, West Sussex

  MADE London - Canary Wharf

             Contemporary Textiles Fair, Landmark Arts

2018     Selvedge Fair - Bloomsbury, London

             Lustre - Lakeside Arts, Nottingham

             West Dean Arts and Crafts Festival - West Dean College, West Sussex

2017    Selvedge Fair - Bloomsbury, London

             Made Brighton

             Lustre - Lakeside Arts, Nottingham

             Selvedge fair - Charleston House, Sussex

             Made West Dean, West Sussex

2016    Made Brighton - Brighton

             Made West Dean, West Sussex

             Made London - Bloomsbury

             Contemporary Textiles Fair - Landmark Arts, Teddington

2015     Ceramics in the City, Geffrye Museum, London E2

             Handmade in Britain, Chelsea Old Town Hall, London SW3

2014    Pulse (trade fair), London

             Handmade in Britain, London

2009    Chelsea Art Fair, London

2008    Contemporary Craft Fair – Bovey Tracey, Devon

             Breath of Fresh Air– Byard Art, Cambridge

             Seeing is Deceiving – two person show, Model House, Wales

2007    Craft Council showcase – Victoria and Albert Museum

             Textile Illusion  - Craft2eu, Hamburg, Germany

             Contemporary Craft Fair – Bovey Tracey, Devon

             Ceramics in the City – Geffrye Museum, London

             Origin, The London Craft Fair – Somerset House, London

             Country Living Christmas Fair – Business Design Centre, London

2006    Origin - The London Craft Fair - Somerset House, London

             Ceramics in the City - Geffrye Museum, London

             Affordable Art Fair – Battersea, London

2005    Country Living Christmas Fair -  London

              Affordable Art Fair – Battersea, London

2004    Gifted – Group show – Frank T Sabin Gallery, London

              Country Living Christmas Fair - London

              Aston Martin selected group show–Oxo Gallery, London

              Top Drawer Spring – Earl’s Court Exhibition Centre

2003     Country Living Christmas Fair–Business Design Centre

              Country Living Spring Fair – Business Design Centre

1996     Slides held at National Art Library Archive V &A Museum


How it's made

My work starts its journey with a piece of textile.  I hand sew patchwork, or applique, quilt or embroider in a wide range of interesting fabric textures and machine embroider motifs such as birds, shells and bees. 

These textiles are then covered with plaster, which when set, I can peel the fabric away leaving me with a plaster ‘negative’ of the fabric. I now roll out a slab of porcelain, large, flat and smooth.  Having worked out paper templates of a jug or vase, I lay the paper over the clay and roughly cut out the shapes needed to be joined together to make an item.  Each piece is then pressed firmly against the plaster.  All of the detail of the original fabric is translated onto the clay, which can then be peeled off the plaster.  My paper pattern templates are then cut around more precisely and the piece I am aiming for can be constructed.  Great care has to be taken not to loose textile detail or leave fingerprints and to match the textile joins where a spout meets a jug body.  Details are added by sprigging, such as buttons as feet on the base or braid on a handle.  The work is dried and biscuit fired, ready to be glazed or in the case of the machine embroidered work, ready to be painted with cobalt.  I use a very fine brush, charge it with cobalt and carefully paint over the stitches and only over the stitches! Cobalt is a very strong oxide when fired but remarkably hard to see in its subtlety when raw and can be picked up on a finger to be spread across any other piece handled, only to be noticed after the next firing! 

Once out of their second, high temperature glaze firing the plain white but highly textured pieces, have highlights added to catch the light and give interest in the form of opal, mother-of-pearl or more recently, gold lustre.  These tiny additions are painted and then into the kiln the pieces go again.  I hope you like the finished items and see just how much work and how many processes are involved.


























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