Katharine Morling

Katharine Morling works instinctively, realising her feelings in what are essentially three-dimensional drawings in ceramic. Nothing is forced but at the same time, every inch, every edge is felt with precision.  This enables her forms to flow into lines and her lines to flow into forms, making emotion actual.  The hair, nails and dress in Sleeping Girl are painted more than they are modelled, but they’re not painted on but rather painted in her pure white foetal form.  This gives this work its integrity of feeling: contours and marks run together in a delicate and true evocation of sleep.  In Console Me the twisted white cables that are now such a feature of everyday life have become expressive of our run-of-the-mill, contorted feelings of discontent and our perpetual hope for sweet, if temporary release, presented here in the most unpretentious way, among the clutter of modern technology.  Ordinary things inspire her, and this modest discipline of observation makes her flights of fancy, when they come to her, even more secure.

Katharine Morling spent six years working her way round the world, through Europe, America, China and India. She returned to Penwith College to study psychology, but realised that she was much more interested in what the students were making in the ceramics workshop.  As ever, she allowed her feelings to draw her, and soon discovered a language of drawing in space that has enabled her to live an instinctively creative life. 


Girl (Sleeping) | 2014

75 x 50 x 30 cm

Materials: Earthstone, porcelain slip, porcelain and black stain

Process/technique: hand building and slab building

Image by Stephen Brayne

Console me | 2014

63 x 28cm

Materials: Porcelain, black stain,wood

Process/technique: hand building and slab building

Image by Stephen Brayne