Country : Ireland
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Sara Flynn was born in Cork, Ireland in 1971, and trained in the Crawford College of Art & Design, Cork City, Ireland.
Her studio is in Belfast, Northern Ireland.
Having begun her career producing small-scale functional pots, as her skill has increased she has moved entirely into making one-off Sculptural Decorative Vessels.
’Closed’ Abstract Forms are also explored through the production of limited-edition Cast Bronze objects.
Currently the main elements feeding the development of the work are Process and Finish; coupled with constant exploration and a deepening understanding of form, volume and silhouette. Sympathy with her materials is a crucial aspect feeding how she works and what she makes.
She is represented in London by Erskine, Hall & Coe, Mayfair; and has held four solo exhibitions with them, the most recent being in October 2018.
Her work is held in many major collections including The Victoria & Albert Museum London, England; The Devonshire Collection at Chatsworth House, England; The Gardiner Museum, Toronto, Canada; The Fitzwilliam Museum, Cambridge, England, U.K., The Art Institute of Chicago, U.S.A., and The National Museum of Ireland.
She was shortlisted for the inaugural edition of the Loewe Foundation Craft Prize in 2017, and was invited to serve on the Experts Panel for the prize in 2018 and 2019.
In 2018 she was on the judging panel for the RDS Craft Awards, and will do so again in 2019.
She was honoured to receive a Special Award by the The Golden Fleece Awards in 2019.
I was born in Cork, Ireland in 1971, and trained in the Crawford College of Art & Design, Cork City.
My studio is in Belfast, Northern Ireland.
Concentrating on the challenges of thrown forms which are then altered and changed at varying stages of the drying process, I produce Sculptural Decorative Vessels.
My work deals with a love of Form, Line and Volume expressed through the qualities and scope of my chosen materials.
I have an on-going relationship with porcelain, and for now it is still my clay of choice. Of great importance is the potential of new and exciting edges, contours and shapes which can be explored through an understanding of material qualities and increasing skill.
Surface quality is also critical; I research extensively to find the best glaze for the form; or vice-versa.
Having begun my career producing small-scale functional pots, as my skill has increased I have moved entirely into making one-off forms which are purely sculptural in their intent.
The main elements feeding the development of the work are Process and Finish; coupled with constant exploration and a deepening understanding of form, volume and silhouette.
An important aspect of my thinking and development of ideas involves ‘play’. Experimenting. Trying things out which often initially don't work.
This uninhibited part of my making-cycle involves risk-taking, failure and critical understanding. It is fundamental to my way of understanding and to resolving ideas.
Sympathy with my materials is a crucial aspect feeding how I work and what I make.