A characterful collection of candleholders by British artist Ellen Hayward, exclusively for The Shop Floor Project.
Dimensions: 18 x 21 x 10cm (Price is for a single candle holder)
Materials: Slip cast and hand modelled. Hand decorated with coloured slips and sgraffito.
A new collection from Ellen Hayward exclusively for The Shop Floor Project featuring joyful candelabras characters, angels, owls and lions. Using a mixture of sophisticated techniques including; slip casting, hand modelling, sgraffito drawing and slipware glazes, Ellen creates folk art inspired designs that will bring a smile each time the candles are lit.
Stripes, swirls, dots, dashes and oak leaves can all be seen decorating the surfaces, painted and carved into the wet ‘slip’ revealing the white glaze beneath. Look closely at The Angel and the influence of Ellen’s profession as a textile designer can clearly be seen in the scallop-patterned wings, whilst the eyes of The Owl seem to follow you around the room and The Lion stands sentinel and full of character.
Ellen Hayward is a ceramicist based in Whistable on the East Kent coast. She studied textile design at Bath School of Art, specialising in weaving, and continues to work as a textile designer alongside her own ceramics practice, enjoying the contrasts and many cross overs between the two disciplines.
She has always maintained a love of illustration and likes to think of her work as three-dimensional prints, using brush work and sgraffito techniques to achieve a bold, graphic quality to her pieces. Her work explores a fondness for character and includes influences from lino cuts, English slipware pottery, and children’s book illustration.
Each candlestick holder created exclusively for The Shop Floor project is made in Ellen’s small garden studio. The main body for each design is slip cast in white earthenware using handmade plaster moulds created from original models.
Smaller details such as ears, arms and crowns are then modelled onto these forms by hand. Each piece is hand painted, applying several layers of coloured slip and underglaze to build a clear design on the surface of the clay.
Finally, using a pointed tool details are drawn into the coloured slip revealing the contrasting white clay beneath.
“This process is enjoyably methodical but also intuitive in how it explores the transfer of two-dimensional patterns onto a three-dimensional surface, and by combining slip cast forms with hand modelling and decorating techniques each piece is given its own character.”