Rebecca Catterall makes one-off ceramic objects. She has exhibited widely in the UK and internationally, has received several grants and awards and works are held in several private and public collections worldwide.

 
rebecca@rebeccacatterall.com
 
All of my work is made from tens or hundreds of individual clay units repeated, organised and constructed into one-off self-contained sculptures. I isolate, dissect, modify and reassemble structural components and constituent parts to limit working methods and explore efficient and manageable patterns of manufacture. I make improvised tools, employ quasi-mechanised processes and carefully orchestrate sequences of production to produce and manoeuvre uniformed components. The simplification of working methods and regulation of complex structures are my primary interests. An interest in streamlined patterns of production and manufacture underpins all my work.

I meticulously plan configurations; forming with dies and controlling with templates and jigs to belie clay's material characteristics. The series titled Eaves borrow joinery techniques seen in the carpentry of Japanese architecture rather than a ceramic equivalent; yet the precision and sharpness of resistant materials is never fully replicated. Attempts to hide the history of the fabrication and formation of my work is limited; traces of my involvement - seams, scored intersections, irregularities in the application of slurry - and the effects of heat are left as visible miscalculations. The imperfections in my work hint at the uncompromising nature of cantilevered, cast and suspended volumes and begin to allude to concrete structures such as tunnels and car parks; tarmacked surfaces and cut stone. As well as the resolute and relentless post-industrial environment, among my influences are improvised supports used to train, protect and prune formal gardens and scaffolding; influences which act as strategies and prompts for action rather than experiences of things and places.

Logic and order's imminent sensitivity to interruption and interspersion are always starting points - I enjoy the familiar framework of simple geometry but like to explore how simple shapes and forms are composed and reordered. Pieces all start with a ruler, compass and, sometimes, a protractor. Arcs, intersections, angles are carefully plotted to formulate a traceable plan and working methodology. Simple shapes and the diverse patterns implicit in their geometry provide a recognisable environment from which to work. Units are amassed and configured into engineered forms; structural maps reflecting the melodic yet sombre ornamentation of my working methods. I value a semi-industrial sameness that reflects the craft of regulated environments.

My work holds many conflicts: recognisable shapes interrupted, order without orientation, surfaces evoking other material qualities - in-between places where monotony and familiarity are manufactured into obstructions. I am interested in the capacity of objects to be a thing and space: an obstacle to negotiate, classify, touch and a place where tuned, controlled and tailored spaces formulate a modest architecture with resonant resolve.