Peter Thompson

Initially self-taught in ceramics through the 1970s and early 80s using Anglo-Oriental influences of Bernard Leach and Shoji Hamada.

Study in the USA provided direct exposure to ceramic artists using influences of abstract impressionism in their work, and directed Peter's tendencies toward calligraphic and gestural line and form

Studio practice concentrates on simple abstractions of classic vessels, which have evolved from a functional base into a purely aesthetic dimension.

The ceramic art of Peter Thompson (known colloquially as "Potter") has its origins in China over 3000 years ago, where the first woodfired Anagama kilns were developed. The word Anagama translates as "hole kiln" or "oven" and, renown for its high temperature capabilities, consists of a brick construction single arched tunnel. It is built on a ten to twelve degree angle to allow accumulated heat and flames to naturally rise and negotiate the pieces stacked in it, and fitted with port holes one meter apart on both sides. Wood is introduced into the kiln during its eighty hours of continuous firing.

The flames, gases and particles generated wood combustion interact with clay surfaces giving flashing and natural ash glazing. Thus, its aesthetic is distinctive, and results from the works being stacked, often in contact with or even being buried under ash and embers. This firing technique can produce dramatic works that have been fired to that molten glassy ash runs around them and works with great subtlety of surface. Clearly the Anagama woodfire method is a physically demanding, time consuming and complex one, requiring a high degree of technical skill and knowledge. And for Potter it is a process which continues all year in evolution, beginning with sketched ideas and designs. Also known as the art of uncertainty with an unmanageable number of variables during the 3-4 days firing process, Anagama forms offer a surface richness unparalleled in ceramics emphasising the plastic and gestural quality of clay processed by hand.

Peter's sculptural forms can be traced back through human history and have been described as unavoidably evoking reference to the aesthetic associated with wares produced in the rural kilns of medieval Japan and is a contemporary interpretation of ancient forms.