Sarah Myerscough Gallery presents „Scorched“ a show of distinguished pieces by some of the gallery’s seminal designers – inaugurating its new London space with a new and exciting chapter of curated exhibitions reflective of the contemporary dialogues in craft and design.

The gallery represents highly-skilled international artist-designer-makers, whose practices are grounded in craft-making traditions but defined by contemporary innovation and invention. Through diverse making processes, they collectively embrace the complex intersections between history and future; hand and technology; form and function.

By curating a specialist programme of exhibitions, the gallery aims to support this movement within the arts, which advocates the importance of retaining elements of the past, to mould a vision of the future.

Sarah Meyerscough Gallery’s aesthetic is clearly centred on material-led processes and relishes the connection to the natural world: organic material and form, with a focus on wood.

It embraces the elemental and imperfect to seek creative authenticity and integrity, indulging in texture, tactility and sensory experience, which informs each object and unique sculptural furniture piece.

Nick Compton in Hole and Corner comments that, “Myerscough represents a collection of more than 20 artist-makers – and together they represent a unique and compelling take on what contemporary craft can and should be; not perfect or obviously pretty, nor backward looking, but born of an intimate understanding of material and the cause and effect of craft skills”.

Sarah Myerscough aims to promote this new breed of artist-designer-maker at the highest level by exhibiting at the world’s pre-eminent art, design and craft fairs and placing works within significant private and public collections. It brings their practices to a wider international audience, so that their exceptional creative vision is properly acknowledged.

Essentially, the ultimate ambition is an engagement with unique art, design and craft pieces, which are imbued with narrative and material intelligence. This concept is perhaps best described by Glenn Adamson in his book Fewer, Better, Things (Bloomsbury New York, 2018):

“…What if we were to approach every object according to its potential narrative and meaning – the way that we give a toy to a child or a ring to a spouse? …If we were to bring objects into our lives one by one, each time with genuine care, it would be better for us, better for society, better for the planet.”

All images courtesy Sarah Meyersough Gallery // Jim Partridge & Liz Walmsley, Wide Dish and Heavy Dish, 2014, Scorched Oak, 63 x 35 x 47 cm and Scorched Oak 54 x 36 x 20 cm  // Ernst Gamperl, Vessel Group, Oak, olive wood and copper-beech wood, dimensions variable // Nic Webb, Group of 5, 2017,Elm and Black Crank Stoneware, various dimensions.

10 June through 30 August 2019