Category Archives: Art

Strata I Sketchbook

Documenting this sketchbook helped hone why they’re such a key part of how I develop work. Continually reframing the composition of pages and elements I revisited the textures, surfaces and shapes I was interested in when putting the pages together. I tend to work with several projects in mind with so much not realised in sculptural form. Sketchbooks continue alongside making and documenting and bringing them online has added another dimension to the research and revisiting process.

Sketchbook highlights

Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)

Strata I Sketchbook slideshow

  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
  • Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)
    Strata I. Documenting my approach to research and sketchbooks (credit: Anna Kime)

Continuing to revisit The China Hall

“The China Hall is one of those buildings that on first stepping inside elicits gasps of wonder – with its high barrel-vaulted ceilings, immense space and visible remnants of its former industrious past.”

From British Ceramics Biennial website (delivered by The Clay Foundation)

I agree with the British Ceramics Biennial site description there’s certainly something about the sheer scale of this space. That work continues to be commissioned especially for it is especially wonderful.

Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent

Read more about my art practice

Growing a thicker skin

I’m developing a body of work called Carapace, they’re going to be armours, skins, husks… wearable hopefully. For this I’m experimenting with paper clay, how thin can I make it,…

New Work: Crustaceous Collection

I unloaded my kiln this morning and then cracked open a couple of saggar pots that had been fired with wood ash, banana skins and all manner of organic matter.…

Crustaceous…

I love the idea of having a hardened exterior. I definitely don’t permanently but it is a good feeling to be finding your shell again. This word also relates to…

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Stay up to date with my news

2015 2016 2017 2018 2020 Aesthetica Audience development Be Manzini Bloc Projects Bragazzis Cinema clay conference Covid 19 Dial F Emotion of the day Exhibition Fair familial film freelance freelancer London new work online online shop Open Studio Poetry reading Relic Sheffield Sheffield Creative Guild shop Skord studio The Daily Journeys We Wear The Hepworth Wakefield This Way Up throwing THWCCF THWCCF20 TWU20 work in progress Writing Yorkshire

Revisiting The China Hall, Old Spode Works

As part of the rebuilding plans for this site I wanted to make much better use of the reams of photos that document my past exhibitions. These were taken when I delivered my work to the British Ceramics Biennial in September 2013. The space was incredible, absolutely cavernous with so much of the last industry, an all encompassing culture, in evidence.

Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent
Behind the scenes at the British Ceramics Biennial 2013 (credit: Anna Kime) The China Hall, Old Spode Works, Stoke-on-Trent

Read more about my art practice

The Furies research

Enjoying researching fury related words for my four protest badges. The words in the photo are taken from the etymology of forge, fray, fiery and fight.

Work in progress: Protest badges

Having fired the moulds taken from the plaster ceiling rose (see previous Instagram posts here and here) I pressed the first round of porcelain shapes today. The hands holding tools…

Honoured…

I felt very honoured to be featured by Aesthetica recently in a piece about sculpture evolving. Lacuna was longlisted for Aesthetica’s Art Prize in 2015. I remember being asked to…

Work in progress: Totem

A good studio session throwing porcelain for a new tall (taller than kiln) sculpture to be stacked over a cane for support.

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Stay up to date with my news

2015 2016 2017 2018 2020 Aesthetica Audience development Be Manzini Bloc Projects Bragazzis Cinema clay conference Covid 19 Dial F Emotion of the day Exhibition Fair familial film freelance freelancer London new work online online shop Open Studio Poetry reading Relic Sheffield Sheffield Creative Guild shop Skord studio The Daily Journeys We Wear The Hepworth Wakefield This Way Up throwing THWCCF THWCCF20 TWU20 work in progress Writing Yorkshire

Buying my work online

The occasion of The Hepworth Wakefield Contemporary Ceramics Fair moving online has led me to make work available to buy online. It is good to prompted to get around to things but it also feels odd. I am used to people handling my work as part of a conversation about what I make and why. That is hard to recreate and I didn’t feel I had a catalogue of products suitable for upgrading to an e-commerce site, yet.

That said, I would love people who’ve discovered my work for the first time through this year’s fair or those I’ve met before to be able to buy from me. I have set out key considerations you might have if you’re interested in owning any of the pieces on this page:

  • The majority of my work is not suitable for posting. You can collect from my studio in Sheffield at a convenient time for you or we can discuss me delivering to you in person.
  • If you would like to buy a piece please email info@annakime.com I will be available for the duration of the fair. I will confirm your purchase by replying as soon as possible and supplying my bank details for payment.
  • I am very happy to talk about my work, over email or on the phone, to discuss existing pieces or new commissions.
  • I have supplied dimensions of each piece available and photos that give a good sense of the piece. Don’t hesitate to ask if you have any further questions.

FUTURE NOW: Aesthetica Symposium 2020

On my way home from the first day of Aesthetica’s FUTURE NOW Symposium. The programme has been so stimulating. The combination of panel discussions, keynotes and one to one sessions makes for a really engaging experience. I was lucky to have two extremely-useful portfolio reviews. They were with Lottie Davies and Pierre Saurisse. Both were generous, enthusing and thoughtful and have given me ideas and directions to pursue I’d not previously seen.