DAVID ROGERS
STUDIO POTTER
THIS ARTICLE FIRST APPEARED IN 'T'TIMES ART SECTION'
David Rogers's tall, narrow-necked vases, the simple outline of his coffee cups, and the flowing lines of his lamp bases all echo his design brief - and that is, each piece must be simple and functional. 'I really want people to use my pieces rather than store them on a shelf gathering dust', he told me when I interviewed him for 'T. Times'.
For me, as a spectator, there is something irresistible in David Rogers's work, perhaps a combination of 'easy on the eye design' and the versatility in its practical application. There is another factor to equate to each finished piece - and that is how David translates his energy into something physical. From the moment it is thrown, through each step of its construction - to the point of transfer into the care of its new owner.
'David told me that while I was at college studying for my A Levels, the ceramic bug first hit me - and I don't think I shall ever recover'. 'I had the most wonderful teacher who was a fantastic influence and inspired me to go on to study ceramics at Farnham for my degree', he continued.
David's father is a boat builder, and it is to him he attributes his dextrous spirit. 'I used to help him at the weekends and after school, and probably if I hadn't taken A Level ceramics, I might have followed him into the business'. While David studied for his degree, he worked part-time in a local pottery. He describes his time there as 'pure experience' - a seasoning of skills. 'It was one of those old-fashioned places you hardly see now, with cardboard on the windows to keep the draughts out. The company specialised in ceramic garden pots. I would spend the weekends and sometimes all night doing the firings in their massive kilns'.
When David completed his studies, he looked at various grants and organisations like the Princes's Trust - but as he put it, 'I just got started. I produced some pieces for a couple of shows in London, then had a summer show at the Beatrice Royal Gallery in Southampton, which was terrific. What I needed was a permanent show of my work and some pieces people could buy - I had to eat. While exhibitions are great places to get your name known, you must strike a difficult balance - selling commercially, too.
David's pieces are all hand-thrown - even the shell-like ammonite shapes are hand-thrown and then press moulded. I asked what inspires him - 'I love Picasso - but you can't see those influences in my work - I admire the very fine work of Potters like Lucy Reeves'. He told me he was a great doodler, too, always playing around with ideas. But he seems happiest behind his wheel, experimenting and producing his unique ideas into something practical we can all enjoy using.
David's work can be seen in London at Wills Art Warehouse and the CCA Gallery in Chelsea.
David Rogers's tall, narrow-necked vases, the simple outline of his coffee cups, and the flowing lines of his lamp bases all echo his design brief - and that is, each piece must be simple and functional. 'I really want people to use my pieces rather than store them on a shelf gathering dust', he told me when I interviewed him for 'T. Times'.
For me, as a spectator, there is something irresistible in David Rogers's work, perhaps a combination of 'easy on the eye design' and the versatility in its practical application. There is another factor to equate to each finished piece - and that is how David translates his energy into something physical. From the moment it is thrown, through each step of its construction - to the point of transfer into the care of its new owner.
'David told me that while I was at college studying for my A Levels, the ceramic bug first hit me - and I don't think I shall ever recover'. 'I had the most wonderful teacher who was a fantastic influence and inspired me to go on to study ceramics at Farnham for my degree', he continued.
David's father is a boat builder, and it is to him he attributes his dextrous spirit. 'I used to help him at the weekends and after school, and probably if I hadn't taken A Level ceramics, I might have followed him into the business'. While David studied for his degree, he worked part-time in a local pottery. He describes his time there as 'pure experience' - a seasoning of skills. 'It was one of those old-fashioned places you hardly see now, with cardboard on the windows to keep the draughts out. The company specialised in ceramic garden pots. I would spend the weekends and sometimes all night doing the firings in their massive kilns'.
When David completed his studies, he looked at various grants and organisations like the Princes's Trust - but as he put it, 'I just got started. I produced some pieces for a couple of shows in London, then had a summer show at the Beatrice Royal Gallery in Southampton, which was terrific. What I needed was a permanent show of my work and some pieces people could buy - I had to eat. While exhibitions are great places to get your name known, you must strike a difficult balance - selling commercially, too.
David's pieces are all hand-thrown - even the shell-like ammonite shapes are hand-thrown and then press moulded. I asked what inspires him - 'I love Picasso - but you can't see those influences in my work - I admire the very fine work of Potters like Lucy Reeves'. He told me he was a great doodler, too, always playing around with ideas. But he seems happiest behind his wheel, experimenting and producing his unique ideas into something practical we can all enjoy using.
David's work can be seen in London at Wills Art Warehouse and the CCA Gallery in Chelsea.
