Tamar has been a designer/maker for more than 25 years now, she works from her studio in the downland village of Steyning. She studied ceramics at Harrow- a course well known for it’s emphasis on high standards of craftsmanship,
this set the tone for her life in clay.
On graduating- she began her career making a range of hand thrown domestic ware. Over the intervening years, her interests have turned to more
sculptural one-off pieces.
Tamar works in porcelain paper-clay because its translucent, almost etherial quality lends itself to the forms that she creates- forms that emerge from her fascination with Victorian black and white illustrations, the stylised imagery of Ernest Haeckl and William Morris. A world where plants and creatures are captured and
suspended in time.
Committing creative thoughts to clay is for Tamar all about capturing a moment in time. From Victorian, shell- encrusted grottos to medieval reliquaries- Tamar’s intricate porcelain sculpture is an exploration of our
fascination with memorials and remembrance.
Moving beyond initial ideas, she become immersed in rolling, impressing, sprigging and moulding. These components are then assembled, arranged and rearranged until the complete piece achieves the form and intensity that she has been searching for.
The possibility of freezing, recapturing or speeding up time is a theme frequently explored in traditional tales. Sleeping Beauty walled up in a bramble wrapped castle, Snow White in a glass casket. These magical images have fascinated for centuries and given life to generations of re-tellers- each in their turn absorbed by the magical possibilities of breathing life into the dead. In her most recent work, Tamar draws on that tradition to create shrines which hold or suspend
personal moments and memories.
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