"The First" Gallery Southampton UK
"The First" Gallery

2018, 44th Christmas Show
Sat 10th – Sat 24th November
“The First” mounts its 44th consecutive exhibition in the Xmas season. Expect its usual cornucopia of well-made, hard-to-source and unusual crafts and art, priced with an eye for The Season of Goodwill and Tight Budgets. 
2018 marks 50 years since their very first stumbling efforts in this sequence (but not counted in the 44, as there was a break after 1969) and there’ll be a small recreation of the display, with some of the original early exhibits.

Opening Hours: 11am – 5pm, weekends; for visits any other day or time (incl. earlier or later than the weekend hours), please ring 023 8046 2723, or e-mail x44@thefirstgallery.com
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2015, 41st Christmas Show
Sat. 7th – Sun. 22nd November
SPECIAL FEATURE I: Willow-Weaving by 
LINDA MILLS of Linda’s Willow 
These examples are NOT the ones on display 
SPECIAL FEATURE II: Foam-Core Lampshades by 
Cornwall-based BEN RIDDELL 
HOURS — Weekends: 10:30am – 6pm, or, by pre-arrangement, outside those hours 
Weekdays: at any mutually agreed time, including outside the above hours. 
For less than 24 hrs.’ notice, best to ring 023 8046 2723. 
Longer than that, or overnight, usually fine to e-mail 
(capitals not critical, just to aid your reading it) 
Go to our contact-page, if there’s a problem with this non-clickable address 
and note Downloadable pdf file for this show  
It’s an unwelcome tradition that our webpages aren’t updated as promptly as we’d like, and no exception this year. 
Our apologies: just so busy getting the show ready I haven’t had time to take all the photos yet! 
We’re sure that “The First” Gallery is the first* example of its kind: showing mixed 
art and craft integrally within a lived-in ordinary house. After 40+ years, with many 
other homes taking up the idea, it’s difficult to describe what sets it apart from those 
following in its wake. The invisible considering that goes into the “hang” is a hallmark; 
the range of unusual things; the lack (or bare minimum) of ‘uber-cool’ lighting, plinths, 
Do Not… notices, rotating card-stands, etc.; in fact, anything that smacks of a shop, or 
doesn’t feel like a home: your home. It’s the sort of place where you’d find a gift exactly 
right for someone, rather than something “trying to be different”, but not quite ‘them’. 
While true, even simply spelling this out feels too uncomfortably like sales-spiel for us! 
We’d far rather the exhibits did any of the talking to you. 
* not why the place is called that: the house was so named in 1954 or -55, way before any notions of showing art in it 
Read brief bio’s, some with images, below table. Links in table jump to these. 
I hope to add photos, titles, prices and some explanations later. 
Early in the show, I will try and indicate numbers of exhibits from each maker.  
( ) = yet to confirm; § = no new items since their last showing here; bold font = ‘New Face’ at The First; italic CAPS = company or trade name 
inventive wood-turning 
Christopher BROWNE 
painted silk scarves 
charred wood sculpture 
oil paintings; prints 
Kevin DEAN 
prints; watercolour-paintings 
Mike DODD § 
wood-fired stoneware 
Crispin EURICH (1935 – 76) §  
monochrome photographs 
Susan R. EVANS § 
plain and painted wood sculpture ; sculpted wood animal-form boxes 
Lotte GLOB § 
ceramic vessels and sculpture 
humorous captioned automata 
Richard HEAD 
oil-paintings; ink-drawings 
knitted / knotted jewellery and accessories; Xmas decorations 
watercolour paintings 
Derrick J. KNIGHT 
digital photographs 
automata §; (framed tableaux) 
acrylic- and oil-paintings 
wood-engravings; small notebooks 
Suzie MARSH 
'cold-cast' bronze resin animal sculptures 
Sarah PERRY 
lustred porcelain jewellery 
Sergio PINESE § 
wordplay mobile sculptures 
(Robert RACE) 
driftwood automata 
foam-core lampshades; cards 
Angela & Laurence St LEGER 
miniature automata 
Lisa SLATER § 
wood automata 
Wanda SOWRY § 
‘all-wood’ automata 
papier-mâché animals / plaques 
foiled 3D greetings cards 
Carlos ZAPATA § 
painted wood automata 
Ken Briffett is a master wood-turner, by some distance the most inventive and ‘design-considered’ woodworker we’ve shown. Most of his working life was at the University of Portsmouth, initially as technician, rising to Senior Lecturer, from which he is long retired. A technician background often spawns great craftspeople, but it’s less usual to see the practical ability allied to such a developed artistic sense. A highly active member of Forest of Bere Woodturners, he regularly participates in (and often devises) their themed projects, for which he enjoys stretching his mind and skills. Among his offerings this time: wet-turned dishes and bowls, allowed to distort by controlled drying; they are then tinted on their exposed edge. Back to List Back to Linda Mills 
Christopher Browne comes from a family steeped in theatre, and one of the few people who graduated from Cambridge without having enjoyed his time there. Latterly, he has run various attempts to support artists, in Southampton (The Brompton Gallery [the ex-Hamwic Gallery premises], Northam Road; later in Salisbury, where he now lives (most recently the just-closed Print Obsession in Harnham) and continues to run art-oriented classes. He is a master of many printmaking disciplines: his selection for this show comprises lino- and screen-print, and aquatint etching. Back to List 
Hazel Burrows is one of the UK’s most high-profile silk-painters. Though busy with two other shows almost at the same time, she has reserved for us a quantity of her dramatic (and great value!) silk scarves, which greet you on the main wall as you enter the gallery. Back to List 
Sorbon Chandaman turned up at The First possibly 20 years ago, a recent art graduate from Southampton Institute of Higher Education (now So’ton Solent University). After he moved to the Isle of Wight, we lost touch*: he may have abandoned visual arts altogether**. His charred and gilded sculptures have intense presence, belying their modest scale: proof that you don’t need much to convey a lot. Back to List 
* we’re not even sure we spell his surname right! ** a Net search, for this bio., did unearth references to a ‘psych-pop’ group called The Bees, “native to” / “based on” the IoW. One site with a photo mentioned having recently [2010] refreshed their line-up, prior to returning to live performance supporting Paul Weller: I didn’t recognize SC’s face among them. An Italian site listed a number of their albums, at least one had a Sorbon Chandaman credited as pianist. It would appear the band is now defunct. 
H. M. Clarke, known to most of you as Margery, is an artist in her own right (H. M. Clarke is her painting name) even though you may associate her more with this gallery, which she founded and still runs. It is not, and was never meant to be, a vehicle for her own work. Often, she exhibits in these shows by default, selecting a few pieces to fill gaps in the wall display whe there’s not enough artwork from other contributors! 
In response to demand, though she has mounted one-man shows periodically since her first here, 21 years ago. She works mainly in oils, with texture and paint-quality a sought-for hallmark. Mosty unconventionally, her best images spring from her imagination, or are recalled intensely from glimpses of people or views. She feels she’s moving into a “more abstract” phase, not abandoning imagery by any means, but leaning towards pattern. Back to List  
A graduate of the Royal College of Art, Kevin Dean is a very busy artist, designer and illustrator, producing wallpaper-designs, murals, tiles (much for buildings in the UAE) and book illustrations alongside his own artwork. One enormous commission saw him designing floral tiles for the Grand Mosque in Abu Dhabi, a temple that receives some 3m visitors a year. A recent foray has been into painted enamel panels, stove-fired, in the manner of inn-signs, but using paint-techniques more akin to watercolour than classic enamelling. He’s showing monoprints and watercolours this time, though he mooted bringing more work during the show. Back to List 
After a medical training, Mike Dodd set up his first pottery in Edburton, Sussex, but has travelled widely since (including a stint in Peru). Now one of the nation’s top potters, he has always lived close to the land, part of his humanistic, holistic philosophy that informs his oeuvre (local, naturally-sourced glazes, wood-firing, etc.) He’s currently resident in Somerset. Back to List  
One of the three artistic children of painter Richard Eurich, Crispin Eurich took up photography professionally after winning the International Photokina Prize in about 1957, since an accident to his hand had prevented him following in his father’s footsteps. Author of iconic photo-portraits like the ‘definitive’ “sad” Lowry, side-on with the artist’s trademark Stockport Viaduct behind him; or ground-breaking industrial night shots, like the “Seven Sisters“, the row of butane spheres at Fawley Refinery, Crispin’s premature death (aged about 41) has caused his imagery’s originality to lose its shine, in the light of other photographers whose work achieved higher profile. He was skilled in many fields (portraiture, architecture, artwork, technology), in a discipline where most practitioners would specialize. The First Gallery is custodian of his archive. Back to List 
Susan R. Evans, previously working as Sue Evans, is a former history teacher, whose passion for wood had to find an outlet when she retired. Originally making toy-type pieces as presents for friends, most of her output combines a flair for traditional decoration (e.g. all her swimming men are in Edwardian bathing-costume, and look like cross-Channel swimmer Captain Matthew Webb!) with a skilful simplicity. She brings a distinctive nature-lover’s sensitivity to the depiction of birds’ plumage, etc. While we’ve previously given space to her automata, she has a large range of handleable static sculptural pieces. Her newest line comprises sea-living denizens of the animal world in the form of boxes, which open to reveal miniature contents: e.g. fish inside a seal; eggs inside fish, etc. Back to List 
Lotte Glob is Danish by extraction, but from early adulthood ‘escaped’* to Ireland, before settling on the very northernmost coast of Scotland. Before she left, she was trained under two major Danish potters but, perhaps counter-intuitively for one from somewhere so renownedly flat, she’s most at home in the mountains, whose colours, changing scapes and actual geology have a profound influence on her work. She must have discovered this when she took up residence at Balnakiel, the disused RAF Early Warning station beyond Durness, the most northerly village in Britain, whose properties were sold off at knock-down prices in the 1970s to be bought up by craftspeople seeking to escape the rat-race (you really could, back then: it was so remote that the roads were hardly made up, the Far North had not yet been marketed as a tourist destination, yet she still survived on a mixed, if spartan, economy, selling to those hardy souls who made the trip to this bleak, windswept part of the UK). 
As its critical mass grew, the site began to promote itself as a Craft Village, at which point (1985) we found her, and brought her work into England for the first time. During subsequent visits, we could observe the signs of the marketers encroaching, with more of the units (which were rising in value) being sold to people without the ethos of the original occupants, until gradually the place was majority-occupied by low-quality makers or non-creatives. The rat-race Lotte had tried to evade had caught up with her: she’d bought a second unit, and realized she was working just to pay the mortgage. 
So, once more she ‘escaped’, selling up, passing on Far North Pottery to her assistant, and buying a croft further down the loch, where she had her own highly contemporary eco-house built, further from civilization (her affinity with the mountains extends to being comfortable living in the peaks for a night or two, so she’s completely self-sufficient). Her plans for having her life to herself were somewhat scuppered after her house won architectural and ‘green’ living awards, meaning calls and visits from journos, architecture buffs and students, and other assorted stardust-seekers! We imagine she doesn’t climb mountains so much these days (she’s way past 70 now), but she's still making unusual ceramic sculpture, experimenting with incorporating actual rocks from the landscape around her (the area is a living laboratory of how the planet’s surface was originally formed, so this is simply microcosm-ing Creation into human-scale creations). We have not been to visit for 15 years, but we have significant stock from previous trips, though our stock of her Far North output (she would sign her domestic ware “Far North” and what she considerd her “creative”, experimental work “Lotte”, or “Lott”) is much depleted and, of course, now unobtainable from new. Back to List  
* what she saw as a stultifying atmosphere of living in her prominent father’s shadow. He was Professor of Archaeology, ran the Copenhagen Museum, and was renowned for having discovered the first so-called “Bog Man”. A review of Lotte’s first ceramics exhibition mentioned that she was the daughter of this pillar of society, and she took slight umbrage, wishing to be her own woman. So, by her own admission, she really was running away, hence the remote west of Ireland, where she initially landed up. 
Neil Hardy has been showing and selling in most of The First’s Xmas Shows for the last ten years. Along with Peter Lennertz, he shared a two-hander here in 2011, under the title Turn a Surprise. His architectural training is evident in the clean lines of his designs, and in his method of batch-making (echoed in very few automatists’ output). Redundancy in 1992, together with a visit to Cabaret Mechanical Theatre, Covent Garden, the UK’s foremost centre devoted to automata, prompting him to reassess, turning to his surreal sense of humour as an outlet. 
Most of our visitors remember his work for the often laugh-out-loud gags, a combination of drily witty captions and surreal actions. Another hallmark, shared with Peter Lennertz, is the long run-time of some of his cycles of movement, no mean technical feat in a small space. Think of it as the automata equivalent of a stage comic’s ‘pause for effect’. The labels have echoes of the spoof cartoonist Glen Baxter [remember him? His protracted captions find a particular echo in these pieces], and Hardy admits a debt to the strange world of Gary Larson’s The Far Side, taking Paul Spooner’s line in witty titles to very different places. 
Virtually all Neil Hardy’s automata are based on creatures (he trades as Fabulous Animals, and within this there is a mini-series called Evolutionary Blunders [yes: let your imagination run riot… though, better still, come and see for yourself!]) He has spent the early part of 2015 completing a huge piece for Northwich’s Lion Saltworks. One of the designs of the ten or so on show now is new this year. Back to List  
Anne Hayward is a long-time member of the Society of Wood-Engravers, senior enough to be on their committee. Her work is decorative and finely designed, with a strong leaning towards natural forms, although she has been experimenting recently, first through painting, with subtle abstractions based on grid-patterns. Back to List Back to Ben Riddell 
Resident in Surrey, Richard Head has been showing at The First Gallery since the 1990s. Trained at Eton, then Bristol Polytechnic, his oils, gouaches and ink-drawings exude a quietly disturbing restlessness, relieved by a distinctive, de-saturated and contemporary palette. His regular travels abroad, especially to Italy, and his day job (formerly a gardener at RHS Wisley, now a volunteer at Hatchlands) inform much of his subject-matter, but he’s rarely at a loss for what to paint, having a Lowry-/Sickert-like ability to create something significant from the most unpromising scene. Back to List 
One of The First’s more versatile and consistently witty makers, Lynne Hudson trained in textiles at Southampton Institute (now Solent Uni.) Her output is broad, ranging from knitwear, both in novelty form and wearable (early on, she made interpretations of iconic works of art on jumpers), crochet (using less usual materials, like wire), mizuhiki (folded flat metallized paper, superficially resembling flattened origami), through to her latest foray, knot-tying (she’s on the committee of the Guild’s local branch). She also makes cards, using textiles and many other colour-application techniques. Back to List  
John Jones is a surveyor, coming up to retirement. Quiet in person, his works in pencil, watercolour (his contribution this time) and acrylic reflect this, but (also like him) there’s a lot in them if you give them some time to ‘speak’ to you. He’s had work in Lymington’s St Barbe Museum Open. Back to List 
A most interesting individual, Derrick J. Knight has now retired from running a London borough’s Social Services department, and is not the only family member with creativity in the blood (his sister, Elizabeth, is also a serious amateur photographer and bookbinder who has shown at The First Gallery, and her son and his wife both work in the film special effects arena). With another hat on, Derrick used to be Mordred, the cryptic crossword setter, repeats of whose puzzles still turn up in The Independent. In the same line, he co-wrote a guide to solving such clues, which has only recently, on a change of publisher’s ownership, been withdrawn from print after 19 years. He has always photographed (examples from all periods can be found on his daily Ramblings blog) and he continues to indulge his enthusiasm during daily walks. 
He and his partner have recently bought and are restoring the old Post Office in Downton, near Highcliffe, which has a huge garden and an erstwhile existence as a commercial plant nursery. As such, it was frankly a right mess, examples of which Jacky and Derrick are still, 18 months later, unearthing! Its transformation, also recorded on his blog, will be the focus of the Spring garden-themed exhibition at The First . Back to List 
Peter Lennertz was a plumber who, while working in Covent Garden (home to Cabaret Mechanical Theatre, the UK’s primary centre for automata), was inspired to start making such things himself. His most recent sortie has been into static framed tableaux (though he’d shrink from the use of such a highbrow word) of the sort of figures that populate his automata. Back to List Back to Neil Hardy 
Another product of Southampton Institute of Higher Education (now So’ton Solent University), David McDiarmid is still in his original trade of navvying, though now in a supervisory capacity. On the spur of the moment, he applied for a sculpture course at SIHE and continues to create in his spare time. No stereotypical working-class-lad-discovering-the-benefits-of-education (though his infectious enthusiasm is common to many of that stripe), you never know what he's going to create next. A visit to his house reveals a riot of influences: native masks, Indonesian puppets, pop art, all on deep-coloured wall-décor. His own work sits very comfortably among these ethnic pieces, and you might be hard-pressed to say which are McDiarmid’s. Not hidebound by the conventions of the art-world, he’s happy to fail en route to coming up with the next imaginative idea. On show this time are his latest colourful paintings, completely non-representational, and mixing media in an exploratory way. Back to List 
Jutta Manser came to wood-engraving via botanical illustration, taking a post-grad HND at Salisbury when she retired from a career lecturing in Economics. Her output is thoughtful and thought-provoking, and not always the comfortable rosy view one can’t help associating with the field (prompted by the prominence of the “golden era” artist-illustrators from between the Wars). Her current focus is mainly on engraving, but she undertakes woodcuts and other techniques as inspiration and time dictate. She runs occasional weekend courses at Red Hot Press. Back to List 
Suzie Marsh was in the year below me at Exeter College of Art & Design, having transferred from an unsatisfying textile course at Brighton. In 1982, I bought one of her amazingly mature animal sculptures from her Degree Show, and the rest of ‘the management’ immediately spotted the inner fire in it, and in the rest of her work. 
Ever since, we’ve collectively watched her trajectory, finding her feet while rejecting the comfortable option of family financial support*, and becoming one of the UK’s foremost animal artists. She has a particular empathy with horses and the cat family, but her oeuvre is wide-ranging, from African and Asian wildlife (not always life-size, though she can do them!) to tiny mice. Back to List  
* based in the West Country, she first told us her father "worked in Plymouth Dockyard". It turned out he was a Rear-Admiral! 
In her first extended outing at the Gallery, Linda Mills comes to us as a working associate of Ken Briffett, with whom she occasionally collaborates on specific exhibits. She works in a variety of willows (much of which she grows herself) exploiting the variety to add shades of colour to traditional baskets, but also stretching the possibilities of the medium (in a way Briffett would approve of!) On show now are her Xmas Trees, threaded with mini-lights; star decorations; a hedgehog; and a most unusual container interlaced with oyster shells: she lives in or near Emsworth, for which, until the turn of the 20th Century, oysters were a major industry. She trained under several tutors on a series of short courses, at West Dean, Amberley Industrial Museum and privately. She now sells at various craft fairs and events locally, supplemented by the occasional workshop or demonstration. Back to List 
Greenwich-based potter Sarah Perry turned 70 last year but shows no signs of slowing down. Unusually for one in her field, she s not in the ‘highly collectable’ stratum yet lives entirely by making, taking on no teaching commitments at all. A graduate of Camberwell, where her tutors were Lucie Rie, Hans Coper and Ian Auld, she makes thrown and slab ware in porcelain and (to the amazed admiration of many fellow practitioners) stoneware to almost porcelain body-delicacy. One of our most frequent exhibitors, we have shown her work for almost half her life, watching her develop from the earlier near-monochrome metallic glazes, through her colourful lustre phase, to her current more matt lustre finishes. This year, she’s sent her popular porcelain jewellery: ear-rings, cuff-links, brooches and necklaces. Back to List 
Sergio Pinese is an Italian-Swiss automata collector who, like many serious enthusiasts, has turned to making at a low-output level. His style is very varied, but always incorporates verbal-visual wit (even in English, not his first language), an aspect of much automata. On offer now are several mobile pieces (“automata” by dint of their moving when you pick them up), with paired words on their bases mischievously misinterpreted in the carved ‘subject matter’ above. Back to List 
Robert Race is one of the UK’s foremost automatists. He started in 1978 by making wooden toys, miniature furniture and dolls’ houses. Like Ron Fuller (one of the three founding contributors to Cabaret, when it was still in Cornwall), Race’s first impetus in movable toys came via adapting traditional (e.g. Monkey-Climbing-a-Stick-type) pieces — he collects indigenous toys, especially Indian tin-ware. 
A science-teacher originally, he retired early to make automata, and leapt to prominence as the first to use driftwood and other beachcombings as a medium (a very influential effect on the less imaginative of the new wave). 
Also like Fuller (but less true of Peter Markey or Paul Spooner, the other two Cabaret founders), the surprise element of some pieces is laugh-out-loud, rather than quiet-smile-raising, giving an element of the punch-line to the genre. His status as a leader in the field was cemented in 2005, when invited to organize the UK contingent of the Karakuri Expo, a very high-profile automata and technology event in Japan (where they know a thing or two about automata!) Back to List  
We know little about Ben Riddell, except that he’s based in Cornwall, is the grandson of Anne Hayward, and has more than one string to his creative bow. At a recent house-exhibition*, we were most taken with the understatedness of his lampshades, made in the unusual medium of foam-core board (comprising a layer of aerated polymer – like a finer texture of a Crunchie bar – with paper bonded to either side, which rigidizes it. The (commonest) white version transmits a certain amount of light, and more through its cut edges). Riddell also experiments with cutting out card to make leaning cards decorated with geometric holes. There are some slighly more image-based styles on offer, in the form of pop-up Xmas Trees. Back to List Back to Joanne Williams  
* unbidden spawn of “The First” Gallery! 
The First Gallery first showed Angela & Laurence St Leger’s remarkable miniature automata ten years ago, during Peter Markey’s 75th Birthday Celebration. Laurence, a watchmaker by training, used to make dolls’ house miniatures, which they sold at fairs. About 25 years ago, he made a miniature Samson Strongman, successfully enough to become their trading logo. Their range now comprises some 250 designs. Angela’s role appears to be painting them; I say “appears”; however, in a recent conversation at her home, she remarked that she does design and make some of their lines, but is assumed not to have! I gather one of her new improvements to their methods is to use a pin or needle on the push-pull mechanisms, instead of fine wire, which was prone to bend in use. There are two of her own designs (one, Castaway, brand new) among their offerings in the show. 
Without adding to Angela’s point about being overlooked, I can’t help mentioning Laurence’s latest success, winning the Perfection in Miniature prize with a scale Swiss Army knife, with 7 tools, all working. This has generated orders from, among others, the manfacturers of the genuine Swiss Army knife, more used to promoting their wares with mightily oversize examples. (As soon as I work out how, I’ll post a link to an animation of it, made by one of their talented creative sons). Back to List 
Trained in Hereford, South-African-born blacksmith Lucille Scott works from her forge at the old Eastney Beam Engine site*, alongside a glass-worker and a stonemason, with whom she often collaborates on her self-designed joint artworks. Highly inventive, both in style and presentation, her work is not exactly what one immediately calls to mind when thinking of blacksmithing (though she can do traditional work, exemplified by several pokers and candle-holders in the show). Back to List 
* a worthwhile location for a visit in its own architectural / industrial archaeological right. The engine is preserved and is often ‘in steam’ at nationwide Heritage Weekends. 
Fairly new to us (thank the Worldwide Web!), automatist Lisa Slater lives and works In Hebden Bridge, West Yorkshire. After studying 3D Design at Manchester, she went into teaching in her native county. She still lectures now, but has been concentrating on making automata for several years. Her animal- and people-based models are quirky, clearly the work of a practitioner immersed in observational skills, yet paring back details and using natural materials to cleverly render textures, etc. Back to List 
In her early 40s, Wanda Sowry is almost the youngest prominent member of the automatist fraternity (and, strictly, sorority!), and one of its few women (who occupy about 10% of the ‘workforce’). Her entire output is in plain wood, brilliantly exploiting different varieties of timber to render colours and tones. Most automatists are magpies, incorporating anything to hand, with no ‘manifesto’ about purity. In Sowry’s work, every joint, peg, and motion device is all cut from wood. This doesn’t interfere with her ability to depict incidents with humour and warmth. Back to List 
Under the brand Total Pap, Emily Firmin & Justin Mitchell have made automata and static sculptures in papier-mâché since 1990, after leaving their respective fields of graphic design / film and music-teaching. Emily makes tableaux often of animals, but people feature too. If her surname seems familiar, it has been in the news recently, with the widely-welcomed remake of The Clangers, devised by her father, Peter (also responsible for Bagpuss, whose Emily character was named after his daughter). While working on an exhibition for Peter’s barn, Mitchell was trying to give one of his pictures a surprise motive element. Peter saw this and showed him some card characters he’d devised for live TV. He encouraged Mitchell to make more, an enthusiasm which has been maintained for the past 25 years. Back to List  
Joanne Williams is a widely-published illustrator, especially of children’s books. Every few years she runs an exhibition in her own house, where we found her earlier this year, along with Ben Riddell. Her range of technique is wide. We’ve chosen to feature her spectacular 3D cards in the form of colourful birds, on which she appliqués gold foils to the upper wing area. Back to List 
Colombian by birth, Carlos Zapata is one of the Cornwall-based automatist ‘cluster’ that has sprung up around first Cabaret, in its original guise as a hand-made-toy and craft shop, and later due to Paul Spooner, the world's best-known automatist, choosing to stay put there after Cabaret upped sticks to London. (There are now more than ten, just in Penwith and its environs, probably the highest concentration in the world). Zapata is the only automatist to have shown at the Royal Academy, and has a busy schedule, and full CV. This includes an automated piece in Tudor House (which may not have survived that museum’s recent refurbishment; staff responsible for exhibitions told us that they thought a new one had been commissioned from him recently, since its re-opening). His output includes static sculpture as well, all infused with the brooding, hints of Latin-American fire typical of the culture.

2014, 40th Christmas Show
Sat. 8th – Sat. 22nd November 
Xmas Shows? 40 of them??  
No, we can’t quite believe it, either! 
UNINTENDED CONSEQUENCES — back then, we had no inkling 
we might end up keeping the pattern going all this time… 
An exhibition for the festive season has been 
held at “The First”* every year since 1975 
Appropriately, this one has a Ruby-Red theme  
* they started before it was called “The First” GALLERY 
It’s also a tradition that we don’t get our webpages updated as promptly 
as we’d like, and we’ve cleaved to that pattern this year. Our apologies: 
just SO busy getting the show up I haven’t had time to take photos yet! 
Sat. 8th – Sat. 22nd Nov. 
N. B. not a full weekend at the end of the show  
HOURS — Weekends: 11am – 6pm, or outside those hours by pre-arrangement 
Weekdays: at any mutually agreed time, including outside the above hours. 
For less than 24 hrs. notice, best to ring 023 8046 2723. 
Longer than that, or overnight, usually fine to e-mail 
(capitals not critical, just to aid your reading it)  
Go to our contact-page, if there’s a problem with this non-clickable address

2012, 38th Christmas Show
10th – 25th November
“The First” Gallery’s Xmas Show 
runs for its 38th consecutive year 
10th – 25th November 
This much-anticipated annual exhibition has unusual, 
well-made crafts and art, priced with gifts in mind, 
in the special atmosphere of (possibly) the original Gallery-in-a-House 
Following up our well-received Boxes show in 2011, we’ve invited contributions from our stable of exhibitors on the theme of 
Cycles (in all its guises, not just bikes). Some 15 makers are represented, including:  
Sue Anderson Alvin Betteridge Ken Briffett H. M. Clarke (see pic. right) Neil Hardy 
Lynne Hudson Olivia Keith Tamsin Loveday Paul Spooner Victor Stuart Graham 
Jan Zalud  
In addition to greeting you (we hope!), we also welcome these first-time “The First” exhibitors for 2012 (those with * are showing some Cycles-themed work): 
Katherine Anteney * senior printmaking tutor at, and co-founder of, the Red Hot Press, Southampton’s premier [not to say ‘only’!] artists’ printing 
workshop, running courses for members and public alike. She contributes to our Cycles-themed display, and next June will be part of our next Open Portfolio 
Weekend event (see more below) 
glassmaker Tim Casey is not strictly a first-timer: without publicizing his name, we showed one of his superbly simple jugs (like the larger one, above) some time ago. 
These are hexagonal inside, though the outer body is round: the flat sides of the hex are subtly twisted, making intriguing plays of light, intrinsic to the material, with 
no recourse to colour. Such colour as is applied (round the lip; in a single disc in the base), infuses by refraction through the vessel. Brilliant (in more senses than 
one!) This is our first airing of a proper variety of work. Now based near Land’s End, he trained at Farnham, before setting up a workshop on Sark. He makes a 
range of mostly domestic ware, using minimal colours 
Tim Craven is publicly the Curator of Southampton City Art Gallery. In private, he is a dedicated painter, initially in super-realist style. More recently, he 
has explored a less stated look, on the subject of trees. He’s presently too committed to be able to furnish more than the occasional participation in mixed / joint shows, 
but he’s provided two casein-based watercolours (which take at least two months each to complete) for our show 
Jutta Manser * is in our view the finest printmaker in the area. She concentrates mainly on wood-engraving. Also a tutor at RHP, she too will have 
a wider range at the O P Weekend in June 2013. Her contribution to this Xmas Show comprises two concertina-books for our our theme, and other framed and 
mounted prints. Another book is a joint work, inadvertently bringing two more “first-timers” to “The First”: printmakers Joy Bulford and Adèle Lord 
Sarah Mander * is the other half of the printmaking duo who set up the Red Hot Press. She contributes this Cycles-themed print, titled Travel 
Andy Sutton is a woodworker from the English side of the Welsh Marches. Though he’s predominantly a Windsor-chairmaker, we’re showing his beautifully simple kitchen 
boards (which it’s almost a crime to cut on, but that’s what they’re for!) made in common native timbers: oak, ash, etc. 
Christina Young is a painter, mostly in acrylics, and virtually self-taught (“Well… I did an O-level“ ! ! Yerss). She displays an intuitive feel for her paint 
(a rare quailty these days), her imagery is accessible, and her colour-sense finely-tuned. Margery bought a painting from the St. Barbe Open in 2011, and we 
followed her up this year, to see if this work was a chance ‘one-off’. It wasn’t, as we discovered in her inspirationally-sited home overlooking Keyhaven Harbour 
25 years since we first showed Suzie Marsh’s animal sculptures, we give her a Feature profile, with a range of her “cold-cast bronze” resin pieces, and a few earlier ceramics. Also see below. 
“The First” Gallery’s Xmas Show wouldn’t be complete without its array of amusing automata, and in one sense, they all incorporate Cycles, given that the movements of their work usually repeat; but those mentioned in the list at the top are consciously choosing pieces (or making them specially) where the imagery fits the theme. The following makers are also exhibiting: 
Peter Lennertz [tbc] Sergio Pinese Robert Race 
Other makers, including some showing very few exhibits: 
Philippa Bambach painting Clive Bowen pots Tony Caplin turned wood Philip Cox papier mâché (above) Geoff D. Clarke (1925 – 98) silver jewellery 
Mike Dodd pots Sue Evans wooden sculptures Ruth Facey jewellery, incl. NEW leather- &-silver work (above) Jonathan Garratt F.R.S.A. wood-fired pots 
Lotte Glob ceramics John Jones painting & drawing Tom MacKenzie etching (above) Eric Meadus (1931 – 70) drawings & cards 
Elizabeth Nash painted textiles (l & r) David Orchard (1926 – 2008) carved & pyrograved wood Sarah Perry pots Potter-Morgan glass  
Ray Reynolds textiles Rachel Shannon recycled fabric accessories Colin A. Smith turned-wood cutlery Jeff Soan flexible wood sculpture 
Jan Thorne knitted wire sculpture William Walker M.A. (RCA) hand-blown glass Malcom Wiggins turned wood Lucy Willder felt birds 
Win this sculpture Buy a ticket at the Gallery (just £1: the piece retails for £115) 
SUZIE MARSH is supporting AnimalsAsia, the charity set up to release China and Vietnam’s Moon Bears from lifetimes of painful captivity, being “milked” for their bile. This is used medicinally, even though there are effective and cheaper alternatives. Suzie makes her range of sculptures to help fund their rehabilitation, a process itself now under serious threat from political machinations in Vietnam. 
Even if you don’t wish to buy a ticket, please consider clicking this link to add your voice to the international clamour to prevent this happening (you need to have a Facebook account to use it). Thank you. 
If you’ve been to “The First” in the past, please note 
this change to our previous pattern of opening hours 
SATURDAYs / SUNDAYs 11am – 6pm 
WEEKDAYS no fixed ‘drop-in’ hours: 
ONLY by prior arrangement 
before, after, or within 11 – 6: ring (023) 8046 2723 or e-mail. As we don’t keep 
the computer on 24/7, it’s probably best to give notice the previous day by e-mail; 
for phoning, you can ring on any date beforehand to fix a visit (which could be 
e.g. six weeks hence, or just in the next 10 minutes, if you happen to be nearby) 
FRIDAY evening PreView 
November 9th 6 – 9pm 
Due to the above change, there’s no formal Special Open Morning [OM] on the last Sunday. 
Under our previous regime, exhibitions ended on the Saturday of the last weekend, with the OM Sunday finishing at 2pm. 
Instead there are home-made refreshments 11 – 6 on Sunday, like an all-day version of the OM.
2010, 36th Christmas Show
13th – 27th November
"The First" Gallery's eagerly-anticipated Xmas Show manages to recreate its special magic year after year. 'Regulars' almost set their (Christmas season) clocks by it, and if you don't, it's high time you paid a visit to find out why they do. Last year, a new visitor remarked: "Why don't more people know about you? I've travelled all over the world and have never been anywhere like this". We are tucked away, somewhat off the beaten track (part of what makes us "the most unusual gallery in the South" (BBC South)) but no less worth finding, for all that. 
Please note that, if you've found this site during our second week (Nov. 22nd – 27th) you need to ring first to check that someone's in attendance to let you in; if so, you can just turn up. This informal arrangement operates year round, whenever there's no main show on. 
Even during exhibitions, if you wish to – or can only – visit outside our set drop-in times of 2 – 7pm daily (which apply during the first 9 days of every show), the same ring-up-and-turn-up system runs (as long as someone is in, of course!) 
This is our 36th consecutive year of mounting the event which, as has become traditional, sources a rare mix of the well-made, the different and the affordable. We're aware of this being the Season of Goodwill and Strained Budgets (probably even more so, this year!) so we make a special effort to seek out good-value items without compromising standards. 
Virtual Tour - desktop (loading may take a while) 
Virtual Tour - laptop 
"The First" Gallery extends its renowned warm welcome to the following "New Faces" this year: 
LUCY WILDER, recently graduated, makes perky, quirky and fun birds in fabric — mostly felt and leather. Her range currently comprises British, mainly woodland / garden, species, but doubtless more will follow! The felt ones free-stand; the leather ones are brooches sewn on to stylised backgrounds, and come with their own linen keep-bag; all are bursting with character. 
Another, rather more art-leaning, line is collaged images of birds, showing various aspects of each. Collage is usually pretty flat, but some of these have plainly 3-D attachments. They have authentically rustic-style frames. 
MARION BRANDIS also creates birds, in ceramic, with real feather accoutrements. Their solidity is partly illusional: the body is less than 1cm. thick, and fairly flat, with the detail printed on, in the manner of antique Natural History illustration. Not necessarily depicting any species, the ones here have a Bird-of-Paradise / lyrebird feel to them, this exoticism in keeping with the 'period' style of the imagery, when such birds were new to Western science. 
KATE LULHAM, too, makes birds... and bees...... and fish, all as wire sculpture, with interestinglty textured / coloured accoutrements. She's sent a selection of fish this time round. First coming to our notice while living in Banbury, Oxon., making wire insects, Kate was lined up to be invited into our 2002 show Flights of Fancy. However, an artist in a similar style accepted first, and it was felt that, together, they would cancel each other out. 
We were delighted to find she was still active, and part of the Festival in Brighton, where she moved about five years ago. 
ANDREA GREGORY makes metal jewellery in silver and aluminium, gorgeously polished. It's the latter metal we have on show. By using thick sheet, she can stamp it and tint the stampings with other metal colours. Visitors have commented on the faintly Ancient Roman / Anglo-Saxon feel to the designs. 
Quality finishing is a declining skill (Geoff Clarke, the gallery's co-founder and a trained precision engineer, used to commit much time to finish and polish, so we've been spoiled by his standards!) We were especially pleased to see this aspect of Andrea's work, allied to her fine design sense. 
We have fewer jewellers than the market could absorb, mainly for the reason of being unable to find workers who pay sufficient attention to this aspect. 
[WOLFRAM LOHR, advertised on our flyers, failed to send anything, without notice or apology]. 
We have also sourced some East European faceted glass, by an unnamed maker. Mostly chained together, chandelier-style, they create beautiful hanging sparkles. With some pieces joined GEOFF D. CLARKE’s (1925 – 98) enamelled jewellery, these become unusual decorations. 
An untypical element this year: for 2010, and beyond, we're making a large selection of art-related books available for sale. These are labelled, to distinguish them from our own books (which we leave on their usual shelves, some of which are visible in the display-areas). 
There's more to appeal to the child in all of us, in the form of automata by PETER LENNERTZ and NEIL HARDY, a pipe-warmer for their joint show at "The First" next Autumn. 
VICTOR STUART GRAHAM and ROBERT RACE each recall their memorable joint show Still Moving here last Spring, with more tempting sculptures / automata mostly in reclaimed wood. 
Out of her slight artistic 'doldrums' of late, prize-winning artist PHILIPPA BAMBACH has regained the slightly disturbing sense of "otherness" inherent in her work of a decade ago. We have four of her latest paintings on show. (She won a top prize at the 2010 St Barbe Open, Lymington). 
ALVIN BETTERIDGE No new pieces, regretfully (that WOULD be something to celebrate!) but pieces from our stock, stretching back to about the late '80s  
LOTTE GLOB's pots are always popular. Those on show this time are mostly domestic, non-ultilitarian: this phase is no longer obtainable from her, since she has begun to focus entirely on sculptural pieces. A couple of her rare Icelandic series are included  
SARAH PERRY needs no introduction to our 'regulars'. Showing her amazingly wafer-thin stoneware dishes / bowls / vessels, etc. (light enough to be porcelain) from our stock, bought over a period (mid-'90s – mid-2000s) for our unrealised ceramics touring show 
Also, a selection from our extensive holding, mostly dating from the '90s, by knowns / unknowns, e.g. inter alia, Mike Dodd, Jonathan Garratt, Chris Hawks, Richard Ballantyne, and anon. 
SUSAN ANDERSON offers a series of woodcut / lino-prints, all made since her last showing with us. 
H. M. CLARKE is showing various oil-paintings, and: – a new line for her – collages: as usual, since the Gallery's primary purpose is not to promote its Director's own output (!), the selection is made at the last minute, to fill any gaps in the display! 
NEIL HARDY, of Fabulous Animals, has sent at least one brand-new design this season. A great success, in both entertainment- and sales-terms, each time he's shown work here. Get in early! 
PETER LENNERTZ has shown with us just a few times, but always attracts attention. Visitors with sharp recall may remember his take on Edvard Munch's famous The Scream, which drew many wry smiles and expressions of intrigue. There's an equally unexpected parody of another iconic work of art in the present show, along with two other designs we've not seen before. 
PETER MARKEY has hardly been making at all this year (he was 80 in September) but we have a selection of pieces in stock from previously. Some are colourful, some plain wood. There are two Markey designs in the Christmas cards display and, of course, those perennial favourites, card automata cut-outs (£2). 
ROBERT RACE, despite his frenetic work-schedule, always turns up the goods. This year, his magical mystery "autreasures" comprise Balancing Birds (these are finely balanced on a weighted stiff wire, and rotate gently on an intriguing driftwood stand), Muttering Birds (see animation) and Surprise Birds (which turn as you pick them up). He, too, has card cut-outs available. 
ANGELA & LAURENCE St. LEGER report a similarly trend-bucking year just past. They're exhibiting ten miniature pieces, including a Cow Jumping Over the Moon in a style entirely new to us (dispensing with the "circus footstool" look of many of their bases). Over half the designs have not been shown here before. 
Single pieces by other automatists are also on show; a few others could be made available, on request. 
LYNNE HUDSON Delightful hand-knitted mohair shawls and an eclectic mix of Christmas-tree decorations, non-fabric items using wire-crochet and knotting [sic] techniques, and both new and previous card-designs, too. New this year are her knitted Hug Mugs, which wrap round your mug to keep your hot drink hot. 
ELIZABETH NASH Recent work of familiar avian / natural subjects, including two silk hangings, and collagraphs. This year, she has completed a new studio at home, and has returned to painting, so there are some small canvases (a bargain I suggest, at around £60) one featuring imagery less typical for her. In the print-rack is one of the Green Man series, a foretaste of next Spring's* exhibition based around Liz's large-scale print-cycle on the subject. * unavoidably postponed from the Autumn just gone 
'RAY' REYNOLDS [= Rachel Louise Reynolds' new trading style, adopted to avoid confusion with the other Southampton-based textile artist, Rachel Reynolds] is showing a series of new and recent semi-abstract images in hand-made felt and hand- & machine-stitch. Developing spectacularly over the past few years, she manages to achieve both pattern and perspective in her landscapes. Glorious colours. We've started noticing a whole raft of felt- / fabric- picture-makers emerging lately, but none remotely as good as this. 
Work by William Walker, Potter-Morgan and others. 
SUE EVANS We have a few small non-automated items available: her Protective Seal & Pup / Cat & Kitten designs.  
VICTOR STUART GRAHAM shows his usual arresting mixture of yachts, houses, and scenes, almost all from reclaimed wood. A new development this year is the terraced houses, seen before, but now split into sections, so they don't have to be displayed in one straight line. The example we have is fairly large by Victor's standards. 
At "The First" Gallery, we don't hold with the commercial hijacking of the term "hand-made" for increased profits. All our hand-made cards are exactly that: designed and made by one person each, not assemblies of ready-made / pre-printed messages and images, like supermarket 'hand-made'. We indicate, on the item, any element that isn't done by hand, or where mass-produced components (e.g. pre-cut card blanks) have been incorporated, so you know exactly what you're getting. That said, the prices are around £1.50 – £3.50, rather less than the typical price you see for churned-out, production-line 'hand-made' cards in shops and boutiques. 
MARGERY CLARKE has again been busy, producing another 30 specimens of various new hand-drawn / -inked card designs: her own original pen-&-ink images, some cartoons, some serious; a few are laser-printed outlines, each individually hand-coloured by her; others multiples of the same design, but each drawn afresh (what the commercial art-world perceives as an "original", as if that mattered!!!); also some one-off designs. She also hand-colours "The First"'s own Christmas cards, of which we make available for sale the few unused ones from previous years' sending. 
No slouch, she, over the printing-table, either: there are more large sheets of hand-printed giftwrap this year, as well as a few sheets of last year's output. 
LYNNE HUDSON Designs include her popular "Orienteer" cards, and new developments using sparkly stones and metallic stitch. 
PETER MARKEY As last year, a couple of designs, one professionally printed from the '80s, with hand-coloured additions; the other laser-printed from one he mailed to his personal and business circle in a previous year, which the Gallery used as its own Xmas card in 2005 (the year we marked his 75th birthday here). Both are hand-coloured by Margery Clarke. 
ERIC MEADUS (1931 – 70) Three sophisticated, witty designs. Colour laser-copies, some dramatically actual size (A4-ish, when folded), some reduced to A5 when folded. The A4 size, and currently just a few of the smaller ones, come with hand-made, pearlescent envelopes, a most stylish feature (using the same paper as our mailed-out invitation flyers). 
Back in the '60s, before humour was a prevalent feature of Christmas cards, Eric Meadus submitted them, unsuccessfully, to Gordon Fraser for consideration. 
Though not crafted, there is a selection of recycled (and some unused) period printed cards from the 1920s to the 1950s. 
THE CORNERSHOP Most of the framing for paintings and fabric-work on view is by PAUL CLARKE, whose further details can be found elsewhere on this site. Click this link 
As though this isn't enough, it's complemented by items from our wide-ranging and unusual stock, and familiar elements like our bargains table. 
And don't forget that, from Monday November 29th, the whole show, in reduced form, continues on display until Xmas Eve, BUT only by prior appointment (a rather grand way of saying "please ring up before you turn up"!)  
Could you ask for more? If so, come and find it at "The First" Gallery's 36th Xmas Show! ;)

2008, 34th Christmas Show
Sat. 8th - Sat. 22nd November

Private View: Fri. 7th Nov. 6 – 9pm 
UNTIL Sun. 16th, incl.: 2 – 7pm, daily  
or by appointment (which can be mornings, or later in the evenings) 
AFTER 16th, just ring 023 8046 2723 to fix a mutually 
agreeable time to visit (mornings, afternoons, or evenings) 
Festive Final Sunday: 23rd Nov. 11am – 2pm 
A more compact display remains visitable by appointment until Dec. 24th 
[Click on an image for enlarged version] 
Something fishy at this year’s show? 
Jeff Soan’s dramatic blue moveable wooden fish [photo A] (the largest of quite a flotilla!) 
Ian Gregory’s brown salt-glazed ceramic one [photo B]; newcomer Beryl Hines’ raku ‘shoal’ [photo C] swim up one wall 
Lotte Glob’s huge (67cm / 26½") fish-shaped platter [photo D] would make a spectacular centrepiece for any dinner party, 
and contrasts sharply with the TINY goldfish bowl automata by Angela & Laurence St. Leger [photo E; also – look closely! – D]. 
A goldfish bowl [photo F] is also the subject of one of Tim Robinson’s collages (a taster of his solo show here in the Spring). 
There is a Seaside mug and cup, with marine motifs (including ‘eel’ handles) [photo G], by UK-based Japanese potter Taja. 
Exhibits from Peter Lennertz [also photo G] spill over from “September Already?” (that wonderful automata show) while 
Robert Race’s mesmeric Fluttering Fish piece [photo H] is part of a larger selection of his new work this November. 
Fishing-flies [photo I] all the way from New Zealand, resplendent in their wooden box, 
complement a range of sushi dishes [photo J] by New Forest potter Jonathan Garratt 
and decorated fabric iPod®-carriers [photo K] by Elizabeth Nash.  
This doesn’t mean the show is totally piscine! Despite the fish in the bill of Philip Cox’ papier mâché seagull [photo L], or 
Sue Evans’ sea-themed automata and wooden decorations [also photo L], or fishing-port houses and boats [photo M] made of 
decorated reclaimed wood by Victor Stuart Graham, there are plenty of non-watery goodies in this wide-ranging show. 
As usual, the normally ‘hard-to-find’ is here in profusion, making this exhibition the one where you’ll find something 
“exactly right”, rather than “just about OK”, for your special friends or loved ones. “That’ll do” is not good enough for us! 
Prices range from under £2 to over £300, with a wide choice between £20 and £50. 
Virtual Tour of the Show 
EXHIBITOR LIST [IN CAPS = quite a few pieces of work previously unshown here; * = “new face” at The First ] 
number varies, according to style / size of work 
CERAMICS by Maria Andrews | Clive Bowen | Bruce Chivers | JONATHAN GARRATT | Lotte Glob | Paul Green | Beryl Hines * | Sarah Perry | Taja 
IMAGES by Susan Anderson [prints] | H. M. Clarke [paintings & prints] | Elizabeth Knight [photographs] | 
TIM ROBINSON [collages] | Sarah van Niekerk [wood engravings] 
FABRIC & TEXTILES by Margery Clarke [soft toys] | HAZEL BURROWS [silk scarves] | LYNNE HUDSON [knitted scarves & jackets; crocheted 
oil-lamp & Xmas Tree decorations] | ELIZABETH NASH [painted / dyed silk hangings, accessories & canvases] | Rachel L. Reynolds [stitched felted pictures] 
JEWELLERY by LYNNE HUDSON [mizuhiki] | WAI-YUK KENNEDY [stitched embroidered felted ear-rings / brooches] 
GLASS by Jonathan Andersson | Andrew Potter & Rebecca Morgan | Colin Twinn | William Walker 
SCULPTURE by Suzie Marsh | Geoff Poulton 
PAPER PRODUCTS by H. M. Clarke [hand-coloured gift-wrap] | PHILIP COX [papier mâché] | Elizabeth Knight [hand-made books] | SYLVIA ROBINSON [découpage boxes] * 
TURNED WOOD by Tony Caplin | Joe Freeman | John MacKinven | Colin A. Smith | Peter Westermann | Malcolm Wiggins 
OTHER WOOD by Paul Clarke [hand-coloured framing] | SUE EVANS [jigsaw-cut sculptures] | VICTOR STUART GRAHAM [sculptures & decorations] 

2007, 33rd Christmas Show
Sat. 10th - Sun. 18th November
Private View: Fri. 9th Nov. 6 - 9pm 
until Sun. 18th, incl.: 2 - 7pm, (or by appointment) daily 
after 18th, just ring 023 80 462723 to fix a mutually agreeable time to visit (am / pm /eve'gs) 
Festive Final Morning Special: Sun. 25th Nov. 11am - 2pm  
A more compact display remains visitable by appointment until Dec. 24th  
The First ’s 33rd Xmas Show features over two dozen makers who exhibit widely but sparsely: some are well-known, others obscure, but all have that rarely-found extra spark of originality. Despite the proliferation of ‘Open Studios’, we maintain our fresh feel, with a consistently high quality, springing from our policy of only showing what we ourselves would wish to own.  
Money is not our prime motivation, but we don’t hide our prices, which range from less than £1 to over £100, with most between £20 and £50. 
 We always feature people we’ve not exhibited before: our renowned warm welcome is extended to all visitors (and makers) but especially to this year’s newcomers, 
  •  porcelain by Sasha Wardell 
  •  glass by Jonathan Andersson 
  •  and Andrew Potter & Rebecca Morgan 
  •  papier-mâché by Philip Cox 
  •  and Renate Forsyth 
  •  watercolours & acrylics by Jan Janes 
  •  photographs & hand-made books by Liz Knight 
  • jewellery by Wai-Yuk Kennedy 
  •  (her first showing in the Central South) 
  • and Iona MacKenzie Laycock 
  •  wood-turning by Colin A. Smith 
  •  Regulars include: 
  •  POTS by Alvin Betteridge | Clive Bowen | Lotte Glob | Sarah Perry 
  • PAINTINGS by Philippa Bambach | H. M. Clarke | Richard Head | Eric Meadus (1931 – 70) | Tim Robinson 
  • FABRIC by Lynne Hudson | Elizabeth Nash | Rachel L. Reynolds 
  • JEWELLERY by Geoff D. Clarke (1925 – 98)| Lynne Hudson | Sarah Perry 
  • AUTOMATA by Robert Race | John Lumbus | Peter Markey | Jeff Soan | Angela & Laurence St. Leger 
  •  sculpture 
  •  Jacqui Lea 
  •  Suzie Marsh 
  •  Geoff Poulton  leadlights 
  •  Colin Twinn  forged iron 
  •  Jayne Wilson  photographs 
  •  Crispin Eurich (1936 – 76) turned wood 
  •  Tony Caplin 
  •  Peter Westermann 
  •  Malcolm Wiggins 
  •  and others