Katharine Morling takes inspiration from inanimate objects which pervade our everyday life and recreates them into whimsical, animated characters. Her “3 dimensional sketches”, as she refers to them, play with viewers’ perceptions of both scale and materials. Morling delights in rousing the question: is it fabric, paper or clay? On closer inspection, one discovers it is unglazed porcelain with black pigment delineating its structure. Working side by side a conglomerate of other talented designer/makers across the board, at the Cockpit Arts in the South London branch, Morling thrives on the support of this artistic community. A sufferer of severe dyslexia, the Cockpit Arts has been instrumental in assisting Morling with organisational planning and implementing efficient systems for her business, a vital component for any successful working artist.
Morling has a string of awards to her name and regularly exhibits with highly respected galleries, museums, and art fairs throughout London and abroad, including the V&A Museum, The Design Museum, and The London Art Fair, to name but a few. Morling’s grandest work to date has been two large scale installations made up of over 100 pieces which took six months to create each one. The first, in 2010, was for the World Crafts Council in Beijing (see image above) which was followed in 2011 by a similar installation for London’s International Art Fair for Contemporary Objects, Collect.
Morling is currently represented by London’s Long & Ryle Art Gallery where she regularly exhibits. A new solo exhibition, Morley and The Hoard, will be showing at The Potteries Museum & Art Gallery in Stoke-on-Trent and in France at the Galerie du Don for the 5th European Festival of Ceramic Sculpture, both in July. If you’re keen to learn more about her creative process, Morley often hosts an open studio at the Cockpit Arts where one can see her pieces fresh out of the kiln, or contact Katharine if you’re interested in participating in a weekly small, private group to master the art of ceramics.
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