Heyop Church Series
In ‘Heyop Church Series’ Verity explores using the words ‘Heyop Church’ as a starting point to conjure up a mental image and a feeling of something that may never have been seen before. Through the medium of clay Verity has translated these images and feelings into reality by creating physical ceramic works.
To Verity, the words that evoke the feeling regarding ‘Heyop Church’ are: tall, dark, towering, spire. She has therefore been creating objects with these words in mind. Verity has used black stoneware clay to echo the sinister mysterious mood that to her Watkins’s maps capture. In combination with texture Verity has used grey slips and underglazes to monoprint surfaces onto the clay slabs, which reference elements from churches, such as roof tiles.
The form of the works allude to features from church architecture such as the angles of towers and spires. Some pieces through their structure reflect both the interior and exterior of buildings. Viewing these works from different perspectives allows sections to come together and angles to meet. The abstract nature of these pieces echoes the bringing together of past memories, buildings and places in order to evoke a sense of place.
For the past four years Verity’s practice has been based around the work and documentation of Alfred Watkins, a naturalist in Hereford in the early 1900’s. The title ‘Heyop Church’ came from one of Watkins’s maps drawn when researching into his theory on Ley Lines. Verity was intrigued by his drawings as she loved the atmospheric place names marked on his maps, for example: Devil’s Bridge, Flight’s Farm, Heyop Church and Sacrificial Stone.
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