RACHAEL MELLORS

My new work embodies my deepening experience of the natural world and is rooted directly in the rhythms, cycles and processes of life.  This immersive relationship with the natural living world and awareness of the ecosystem is integral to my artistic practice.  Appreciation and expanded awareness of the natural world is core to my processes.

“By equating the physicality of the human organism with the physicality of non-human forms of matter, Mellors integrates the locale into her conception of ‘self’. “

“Mellors presents a vivid example of the neglected sensual and perceptual attributes as they unfold in time and space. Because bodily generated exploration is active and personal, information- gathering ceases to be mere data – collection. It is enriched by immersion, connection, and attunement.”

Extract  from book ‘WHAT’s NEXT? Eco Materialism and Contemporary Art’ by Linda Weintraub 2019  https://www.intellectbooks.com/whats-next

‘Rachael Mellors revels in the sensuality of physicality. Her romantic impulses are fulfilled by embracing the planet’s material treasures with erotic intensity. The exuberant clay sculptures she creates are small enough to nestle in the palm of a hand. In addition, they are charged with the powers of her creative partners in the vast eco/bio/geo/hydro forces that abound in Gargarou, Greece, where she spends part of each year. Mellors’s creative process exemplifies full sensory immersion into the material conditions inherent to this seaside location. The region is known for olive groves that perch on cliffs above the sea. Achieving ‘muckro’ intimacy required replacing five standard studio art conventions:

  • Industrially manufactured art mediums are avoided because they prevent sensual engagement with local materials. Instead, Mellors gathers clay directly as it falls from the eroding cliffs, welcoming the shells, stone fragments, and debris that lie embedded in it because they augment her work’s connections to its site.
  • Hand and power tools are dispensed with because they interfere with the tactile sensations her materials offer. She forms the soft clay by hand.
  • A studio is rejected because a roof and enclosing walls isolate occupants the dynamic conditions of wind, temperature, season, and time of day. Mellors locates her forming processes where the clay in her hands was harvested – on the beach or in the shallow waters of the sea. On the beach, the wet clay may be rolled in the sand. If the forming takes place in the olive grove, it may be coated with dirt or ash from previous fires. These added materials melt during the firing, glazing the surfaces with colors and textures that resemble pottery shards on the beach, although the surfaces of the shards were ‘glazed’ by weather, sea, and sand.
  • Self-expression is moderated by responsiveness to surrounding conditions. Mellors’s sculptures materialize the confluence of her body with the particularities of wind, tide, season, erosion, and sedimentation.
  • Process, too, is reconfigured to allow the sea to factor into the sculpting of her artworks; the sun to contribute by drying the artworks that are laid on the beach; and olive trees to contribute their pruned branches as fuel for firing. Ultimately, these procedures replenish the olive groves because Mellors locates the firing there so that the nutrients produced during the firing return to the soil in the form of ash. In all these ways, the creation of art is synchronized to the generative cycle of trees, the annual cycle of seasons, and the geological processes of erosion and decomposition.’

Extract from essay ‘An exotic Journey into the Commonplace’ by Linda Weintraub . Published in Artizein: Arts and Teaching Journal, Vol 2 issue 2. November 2017  https://opensiuc.lib.siu.edu/atj/vol2/iss2/3/

‘Her figurines had a kind of stationary movement in them and a kind of form that reminded me of the way the waves and the wind shaped the rocks and stones on the beach here. It was as if she had tried to achieve with her hands and fire what Mother Earth needs millions of years to accomplish. So this quite slow process of digging out clay, forming it and burning it for a day can be seen as human mind in nature imprinted in a shape and an earthly process speeded up by hand and man and fire.’

Extract from essay ‘The change, the current, the eternal universal swerve’ by Trond Arnesen 2012. associate professor of biology at The University College of Trondheim, Norway

PROFILE
1978 -1981 Royal College of Art MA Ceramics
1975 -1978 Portsmouth Polytechnic BA Fine Art
1974 -1975 Portsmouth College of Art

Teaching

1994 – 2008 Head of Arts Programme.  Community Education Lewisham, London

1982 – 1994 Ceramics and Pre-Foundation Arts Tutor.  Community Education Lewisham, London

Publications

2018  ‘What’s Next? Eco Materialism and Contemporary Art’. Linda Weintraub. Intellect Books

2017  Artizein:  Arts and Teaching Journal, Vol 2 issue 2. ‘An exotic Journey into the Commonplace’. Linda Weintraub

Exhibitions (group, unless stated solo)

2010 Brighton Festival – Artist Open House ‘Mnemotechnic’

1996  Bluecoat Display Centre Liverpool  ‘Animal Farm’

.          Ruskin Gallery Sheffield
1995  Crafts Council Gallery London  ‘Out of this World’
.          Manchester City Art Gallery
.          Oriel Cardiff
1994  Rye Art Gallery Sussex  ‘Selected Artists’
1990  Prema Arts Centre Gloucester  ‘In the Eye of the Beholder’
1988  Liberty’s London  ‘Royal College of Art Ceramics 150th Anniversary’
1987  Ceramics 7 Gallery London  ‘Bird Beast and Man’

1986 South London Gallery ‘ South London Open – works on paper’
1986  The Minories Colchester  ‘Rachael Mellors Ceramics and Drawing’ solo
1986  Stafford Art Gallery  ‘Ceramics’
1986  British Crafts Centre London ’Figurative Art Exhibition’

1984  New Metropole Arts Centre Folkestone
1984  7 Dials Gallery London  ‘Out of Clay’

1983 Whitechapel Art Gallery ‘ Whitechapel Open’
1982  Cale Art Gallery London  ‘Rachael Mellors Drawings on Paper and Clay’ solo
1982  British Crafts Centre London  ‘Big Pots’

1982  St Pauls School London ‘Natural History Drawings’
1982  British Crafts Centre London  ‘Planters and Vessels’
1980  Sudbury Hall Derbyshire  ‘Sudbury Ceramics 1980’
1980  Royal College of Art Gallery London  ‘Reliefs’

Awards
Royal College of Art Prize for Drawing 1981
Crafts Council new craftsman grant 1982-84
Digswell Arts Trust Fellowship 1986-89
Artist in Residence Harwich School 1986
Crafts Council Index of Selected Makers

Collections
East Midland Arts
Suffolk County Council
Southern Arts
Hertfordshire Education Authority
Essex Education Authority
Private collections