John Ward (b.1938) has a longstanding reputation as one of Britain's foremost potters, and yet very little has been written about his manifold achievements. Authoritative and enlightening, this will be the first account of Ward’s life and work, tracing the evolution of his ideas and his practice as a potter and placing them critically within the history of British Studio Pottery.
The qualities of Ward’s best pots are hard to define. As the late Emmanuel Cooper noted as long ago as 1996: “...the apparently contrasting qualities of drama and quiet reflection, is one of the most engaging aspects of his work. This sense of balance, of the tension between pushing and pulling, light and shade, movement and rest, makes Ward’s work distinctive, distinguished and intriguing.” Setting out to explore and define those distinctions - expressing what makes Ward’s pots compelling and historically significant - the potter's important artistic contribution will finally be expressed.
'John Ward is a unique figure in the history of studio ceramics. This is the long awaited, insightful and beautiful monograph that illuminates the range and depth of his art. It will bring an even greater audience to appreciate his remarkable subtlety and strength.' – Edmund de Waal
'Carefully and thoughtfully produced, this insightful monograph is a must-have for admirers of Ward’s work but a valuable addition to the bookshelf of anyone interested in contemporary studio ceramics.' – Helen Ritchie, Decorative Arts Society
Emma Crichton-Miller is a freelance journalist, critic and author writing on subjects including fine art, ceramics and textiles. She writes a monthly column for Apollo and has contributed to numerous newspapers and magazines including the Financial Times, RA Magazine and Crafts. Also involved in television production, she has worked with the BBC and Channel 4, producing films on a range of subjects from neuroscience (with Oliver Sacks), to Balthus and Tricky.
John Ward (b.1938) has a longstanding reputation as one of Britain's foremost potters, and yet very little has been written about his manifold achievements. Authoritative and enlightening, this will be the first account of Ward's life and work, tracing the evolution of his ideas and his practice as a potter and placing them critically within the history of British Studio Pottery. The qualities of Ward's best pots are hard to define. As the late Emmanuel Cooper noted as long ago as 1996: "...the apparently contrasting qualities of drama and quiet reflection, is one of the most engaging aspects of his work. This sense of balance, of the tension between pushing and pulling, light and shade, movement and rest, makes Ward's work distinctive, distinguished and intriguing." Setting out to explore and define those distinctions - expressing what makes Ward's pots compelling and historically significant - the potter's important artistic contribution will finally be expressed.
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