Welcome and thank you for visiting my site...
This page is representative of my work in ceramic sculpture and poetry.
My art statement is 'Diana' and the galleries are images of my current work and poetry pages. These pages will be updated in early 2019, so please scroll through them from time to time...
In 2017, I was part of a six women show at The Morvah Galleries showing new work
produced following my Stroke. Some of the images reproduced here are indicative of my journey back to health. Many of the sculptures are departures from my usual themes of 'mother and child', birds, animal studies and the abstracted human form. Instead of mass there is space
and inner complexity of movement - all abstract representations of my inner journey.
These images can be found here on the home page and in the Gallery.
In 2018, I rejoined Open Studios after an absence of several years. I used the stoneware
white clay and continued the exploration of mass, space and relationship to gravity - always an essential component of my work. Work can be viewed in the Gallery and on this page.
1n 2019, I was delighted to be part of a series of shows to be held at The Hypatia Trust, Chapel
Street, Penzance. The vision of art director Delpha Hudson, who has developed her idea of
a 'conglomerate' - combining sculptor's work for a 'happening' - and then individual work
on show in the Hypatia space. My exhibition was in May. The six to eight sculptures
displayed on plinths were themed 'Mother and Child' and will be a retrospective, as well as new work produced this winter. In February 1978 I had the honour of spending an afternoon
with Henry Moore. He talked about influences from ancient civilisations; the truth to materials;
recurring themes and the role of inspiration: "There is no such thing as inspiration, only hard work." True to his teaching I have sculpted the human form, especially mother and child, for
over forty years - with one major innovation: Henry Moore's work has a very solid base, my work - from my student days - has exploited the natural force of gravity. Please scroll through the images, either on this home page or the gallery.
The photographed exhibits for the show followed in July'19. The Henry Moore Foundation
had said I could use my notes and quotes written during the meeting, and I have submitted a copy to be stored in their archives.
ART SHOWS AND POETRY EVENTS in 2020
'THE FRADGAN FOUR' Easter Show in my studio/gallery with three friends. A mixed media
show of printmaking, painting and collage, conceptual art and ceramic sculpture. The dates are Saturday 11th - Saturday 18th. Invitations to private views, finisage and friends' events to follow. This promises to be a show of new work and new ideas, and it is the first time that we have worked together, so an exciting new venture.
OPEN STUDIOS SOUTH WEST - Dates for Open Studios 2020 is Saturday 23rd to Saturday 31st May.
This year I have invited my friend Claire Voss Bark to join me in sharing my studio and presenting her prints - monoprints of experimental, abstract seascape studios.
I will be exhibiting new ceramic and cement fondue sculpture, using a variety of different finishes: glaze, bitumen, acrylics and fire and water etc.
PERSONAL DECISION: I have very sadly decided that my poetry performance reads have come to an end. It has become harder each time, owing to my 'nervous legs' and I don't look forward to the excitement of performing to an audience anymore. At the moment I am grieving
but know it is the right decision! Instead I will try to concentrate on my forthcoming Open
University course on poetic forms. And hope to reach a standard that enables me to 'send out' eventually - something I haven't managed to accomplish for many years. Thank you for
telling me you like my work, it has helped but now is the time to study......
Mother and Child. 155cms x 60cms
"The problem for me is finding the truth
in the 'form' of the sculpture."
Studio view - March 2019
"The butterfly counts not months
but moments, and has time enough."
The Senses 50cms x 40cms
I ""Those who flow as life
flows know they need no
other force." Lao Tzu
"There is no such thing as inspiration,
only hard work." Henry Moore
Artemis. 27cm x 11cm.
Aftermath. 27cm x 11cm.
"My destination is no longer a
place, but a new way of seeing."
I began sieving the clay streams near my home in Tywardreath, Cornwall when I was ten years old. I instinctively knew to sieve all debris, mostly rotting vegetation and small pebbles, before drying the clay on granny’s washing board. When it was malleable I fashioned figurines of the neighbourhood dogs and cats. So began a life time of working with clay.
UPDATE: OCTOBER 2019:
Next spring I will hold a show in my studio of paintings and prints by four
friends and my new work, mostly bird studies.
OPEN STUDIOS: 2020 - my studio: with my print making friend Claire Voss Bark and my 'Bird 3'show
Gravity fascinates me. The theme of my work evokes the brink of gravity, the very edge of falling and an uncomfortable sense of foreboding. Thwarting gravity fascinates me even more: balance and counter-balance are the key figures in exploring the poised point; the apex of the fall...
My early work influenced by Henry Moore
Aftermath. 27cm x 11cm.
I have been writing and performing poetry for decades. Initially at the Poetry Society, Earl’s Court, and two fringe theatres: The Bush and The King’s Head, Islington. Twenty two years ago I moved to Penzance and joined the much-missed Penzance Arts Club. The well-known poet Bob Deveroux regularly performed there, and he introduced me to the local arts community. With his encouragement I began to perform my work – using a range of dialects and with the audience's participation. Nearly two
decades later I have reluctantly decided to end my poetry performances. Please read...
My poems reflect the 'warp and weft' of living. Sometimes they are sad and painful,
often they are humorous. Always they seek our vulnerability and mortality - hopefully with a gentle 'eye' - whilst I explore the themes of loss, love, illness, dementia and death.
Aftermath. 27cm x 11cm.
Pathos. 42cm x 18cm.
I hadn't closed the gate,
it was only a gate-type of gate
but it closed you off from me forever.
Looking back I saw my footprints
on the lichened path.
I saw your windows shaded by shadows
and quiet dust motes settling for the night.
Pathos. 42cm x 18cm
Oaken our hands laden with age,
lichened with destiny,
etched with old grievances.
Old sorrows runneled
into cleats of misgiving.
Gentle byways running
bare-faced with artifice, lying.
Hands. 50cm x 33cm.
Casting and reeling
Laughing at seagulls
Watching our mackerel
Laughter turns to keening
I am falling
Soft as an eiderdown
Rocking me gently
Bidding me sleep
Now on tiptoe
Agony a crescendo
slide, like a
Working man's breakfast,
Beneath the blue water.
Mother and Child 75cms x 53cms
The deaf/blind seagull
crouched, listening for an echo.
The ancient crow watched,
head cocked, eyes skewing
as the maimed bird began
a walk into the
shadowed road wide as a
lifetime, narrow with seconds to live.
The raucked cry a rising
tremolo of grief,
the gull heard, heard and survived,
and already turning with waddling steps
eager, with intent,
to hear the crow's gentler cries.
It is the substance of my shadow,
it is the white space of my mind
and the kernel of my being.
It is the infinity of my thoughts.
It is the taproot and the lightening rod
of the commune with my God.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
Reclining Figure. 50cm x 28cm
My mate Charlie Strode
lives in a box, a cardboard box,
a ‘des res’ - a Hitachi.
Comes with polystyrene walls,
and anti-damp sachets.
Ella Mount lives next door in a Sony,
a thirty-eight incher. Bijou,
compact, with nylon reinforcements
and big Velcroed flaps.
Tommy Grime lives in a palette frame.
Polythene windows and a raised platform
base, under floor heating too - if you
don’t mind the fug.
Pete Small lives in a White Knight combi
divided down the middle: fridge,
with poly walls one side,
freezer, with poly walls on the other.
Long Tall Sal lives in an Indesit.
Seven feet end to end - slim as a whistle.
Lined with bubble wrap,
and she’s got LED lighting.
My new box is coming tomorrow.
A Fridgidaire. Very basic.
No bells or smells.
Just two-ply manilla.
A snug fit though.
Probably my last one.
Fledgling Gull. 62cm x 45cm
The Stroke. 45cm x 29cm
Mother and Child nfs
Sat high on her nose,
so high she saw the sun glisten
and converge into twin orbs -
almost celestial their vision
as they watched, waited,
dipped in coy deference,
rose again, polished and
powerful – almost invincible
in their ability to perch
in their eerie safe from
flaying fingers clutching
an arm, defying cruel
gravity waiting its turn.
The rose-tinted spectacles
tilted in the mist, couldn’t
get a bearing – sought
to regain their balance, find
a centre-point, seek
out solutions, raised their arms
in supplication, changed their
position, sat lower on her
nose – to wait out the
murk and misdoubt
steaming their lenses,
clouding their vision,
fearing the worst.
The rose-tinted spectacles
slithered and slid
down they fell,
into a place neither
knew – to where the
air was clear, where
her resting cheek
smiled, and her thoughts,
clear as crystal,
Already a spindle’s width
Of knowing the weft and
The threads of rekindled
Already glowing like the
Slowly closing the night
Still the fluttering silence
Another flight tomorrow
Tamped down yesterday
Woven silky tight
A teazled length almost
Almost ready for the paddling.
Memory has already
White clay: Mother and Child 50cm x 22cm
Sea Bird bowl 25cms x 17cms
Cormorant. 68cm x 37cm
Basking Gull p.c
Her limbs sat in still repose.
Not waiting, not hungry for movement.
Just unmoving, attached to something else, just resigned.
Just sitting in her chair – all the wheels aligned.
Silent, pensive, just waiting for a human hand.
For the signal to turn, to give her space, to move her.
I am influenced by archaic Greek sculpture (especially early Cycladic), crumbling medieval statuary and weathered coastal rock formations that I have observed all over Europe. Using clay, stone, wood, metal and water, I borrow from the Elements: taking oxides from the earth for colour and texture. Fire to transmute wood, clay and metal. Wind for movement and water, sometimes living flora to enhance or weather the form. I draw from emotive memories and combine them with new experiences which, through their fusion, create forms - whether abstract or representational that, hopefully, conveys an interactive response between the viewer and the piece of sculpture.
Smoke fired sculpted bowl p.c..
Cormorant standing bowl p.c
Venus - carved limestone p.c.
View of my studio circa 2018 - updated view to follow w/e 20th and 21st October 2019. Plinths rearranged and showing new work, including birds
View of my studio circa 2015
Fradgan House Studio and Gallery
21 The Fradgan, Newlyn, Penzance Tr18 5be
For further dimensions, prices of pieces and shipping, please contact me!
Lovers - 22cms x 31cms
Please come back soon for updated pages. Thank you.