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Chris Barnes
Chris Barnes
Chris Barnes studied Sculpture at Goldsmiths College and St Martin’s School of Art, London. In 1989, he rented a workshop space with a potter; the early 1990s proved a fruitful time for the development of his making skills and his understanding of firing and glaze technology. In 1994, Barnes helped set up the Chocolate Factory artists’ studios in Hackney, moving into his first solo studio in 1995. Several years of pottery making and teaching followed, and his work found its way into galleries across the UK and in Munich.
In 2006, he moved to Rhemore in Morvern and set up a pottery housing a large gas-fired kiln which he built himself. Subsequently, in 2010, Chris moved to Cumbria to establish a pottery in the Eden Valley, where he has largely focussed on raku-fired works. In the artist’s own words: “My work reflects a love of clay as a material and an exploration of the magical transformation of firing. The reason that I make pots, as well as sculpture, is because function gives my work a simple meaning which lets people get closer. It is in the interaction between the user and the pots that the art takes place.”
Chris Barnes
Chris Barnes studied Sculpture at Goldsmiths College and St Martin’s School of Art, London. In 1989, he rented a workshop space with a potter; the early 1990s proved a fruitful time for the development of his making skills and his understanding of firing and glaze technology. In 1994, Barnes helped set up the Chocolate Factory artists’ studios in Hackney, moving into his first solo studio in 1995. Several years of pottery making and teaching followed, and his work found its way into galleries across the UK and in Munich.
In 2006, he moved to Rhemore in Morvern and set up a pottery housing a large gas-fired kiln which he built himself. Subsequently, in 2010, Chris moved to Cumbria to establish a pottery in the Eden Valley, where he has largely focussed on raku-fired works. In the artist’s own words: “My work reflects a love of clay as a material and an exploration of the magical transformation of firing. The reason that I make pots, as well as sculpture, is because function gives my work a simple meaning which lets people get closer. It is in the interaction between the user and the pots that the art takes place.”