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Patricia Shone
Patricia Shone
Patricia Shone grew up in Devon and studied ceramics in London. She lives and works on the Isle of Skye in North West Scotland. In 2019, Shone was awarded The Craft Charitable Trust Emmanuel Cooper Award in 2019 at Ceramic Art London. As a result, the trust purchased a piece of her work to be part of the permanent collection at the Victoria & Albert Museum. In her own words:
I love the feel of the raw clay in my hands and the connection it gives me to the physical world. I enjoy the visceral processes, not always comfortable and often challenging. It demands practical solutions which balances the introspection that comes from working alone. Inspiration comes from many sources at different levels. There is an inherent inspiration which is a person's fundamental being. I think an artist’s work can be a search to find expression for this, consciously or unconsciously. This is the deep essence in a work which can connect one human being to another. Then there are the influences from the land around me. I have always preferred wilder more challenging landscapes and seascapes. The visible presence of the weathered rock beneath the thin soils of the Highlands reminds me of the real substance of life, and how fragile the modern veneer. There is the physicality of making; the bodily involvement of using clay to create something; the manual skills acquired and developed over many years. I give precedence to the physical process over and above intellectual input, allowing the inner senses to give voice to the work. But I also love understanding the complex chemistry of the ceramic process, and the history of the material and its domestic uses. And this brings me back again to how it connects one human being to another, a bowl passed from one hand to another.
Patricia Shone
Patricia Shone grew up in Devon and studied ceramics in London. She lives and works on the Isle of Skye in North West Scotland. In 2019, Shone was awarded The Craft Charitable Trust Emmanuel Cooper Award in 2019 at Ceramic Art London. As a result, the trust purchased a piece of her work to be part of the permanent collection at the Victoria & Albert Museum. In her own words:
I love the feel of the raw clay in my hands and the connection it gives me to the physical world. I enjoy the visceral processes, not always comfortable and often challenging. It demands practical solutions which balances the introspection that comes from working alone. Inspiration comes from many sources at different levels. There is an inherent inspiration which is a person's fundamental being. I think an artist’s work can be a search to find expression for this, consciously or unconsciously. This is the deep essence in a work which can connect one human being to another. Then there are the influences from the land around me. I have always preferred wilder more challenging landscapes and seascapes. The visible presence of the weathered rock beneath the thin soils of the Highlands reminds me of the real substance of life, and how fragile the modern veneer. There is the physicality of making; the bodily involvement of using clay to create something; the manual skills acquired and developed over many years. I give precedence to the physical process over and above intellectual input, allowing the inner senses to give voice to the work. But I also love understanding the complex chemistry of the ceramic process, and the history of the material and its domestic uses. And this brings me back again to how it connects one human being to another, a bowl passed from one hand to another.