James Oughtibridge: Ceramic SculptorThe three-day course provided opportunity for in-depth conversation with not only James, but also ceramic sculptor Rebecca Appleby. As well as some insight into the practice of ceramic sculptor/resin caster Martin Norman, metal sculptor Mick Kirkby-Geddes, and ceramic sculptor Brendan Hesmondhalgh. An invaluable experience.

James’s practice is all about form and the play of light on the surface of his sculptures. Shadows interest him. He creates shadows that emphasise form and create movement around the form. He developed his method of using curved slabs during his MA, when he made large pod-like garden seats (Figure 1).

Figure 1 Oughtibridge J n.d. Large Scale Ceramic Seating [brick clay] Source: http://jamesoughtibridgesculpture.co.uk/outdoor.html [Accessed 22/03/2017]

Post-MA he applied the method to tall vessel forms, varying the scale for indoor and garden settings (Figure 2).

Figure 2 Tall vessel in the artist’s studioOughtibridge J 2017 Tall Vessel [ceramic]

Recently, however, he has returned to the pod. He draws directly onto the basic form, then cuts away and inserts curved, intersecting shapes based on circles, and tubes (Figure 3).

James’s 3D drawingFigure 3 Oughtibridge J 2017 Untitled [ceramic]

In response to market demand, he makes forms that are minimalist and forms that are more highly detailed. He also varies the size of his sculptures to suite various locations, size of space and depth of pockets. He feels he has been missing sales at the lower end of the market, so he recently introduced Minis – small carved and relatively affordable versions of the pods forms. (Figure 4).

Figure 4 Mini Oughtibridges in James’s StudioOughtibridge J 2017 Minis [ceramic]

I learnt a great deal on the course, however, two aspects regarding process stand out. First, 3D drawing was a revelation to me, connecting to the skills of my past. Whether remodelling an interior or designing a kitchen, drawings, plans and CADs are not enough when there are stepped-walls, nibs and services issues – marking out in 3D is essential (Figure 5).

Figure 5 One of my trickier kitchen designs in progress, 2012

I found James’s technique of drawing his ideas on the form very intuitive.

Secondly, I found the possibility to take a knife to the form, making additions and subtractions very liberating. It’s something I haven’t done before, but intend to investigate in the future.

From:Research Study ReportDesign Research 2Pam Gould | DE4201 | March 2017