4 July – 20 September 2026

Incorporating unrefined materials to explore form, function, pattern, and place

Deiniol’s ceramic practice explores the dichotomy between rhythm and discord, and balance and disorder. By bringing together raw and unrefined materials and incorporating them into the clay, he seeks the harmonious point between the rhythmic flow of the potter’s wheel and the disruptive and chaotic inclusions within the modified clay.

Being interested in ‘place’, many of the stone inclusion and materials used are either collected from the hills of his ancestral birthplace of West Wales, or from the surroundings of his current studio in West Yorkshire. These inclusions are mixed into the fabric of the clay whereby the act of throwing becomes a careful balancing act between the modified clay’s tendency to tear and collapse, and the control needed to create the forms.

The use of very fluid glaze coatings are designed to heighten the movement in the work and to counterbalance the splits and cracks that appear as the inclusions distort, melt, and tear the fabric of the work apart. The final act involves an intense wood-firing which enhances the work further by transforming the clay and the glaze surfaces within the turbulent kiln atmosphere.

Deiniol is ultimately interested in creating ceramic forms that push the boundaries of what the material is capable of and deliberately encourages what would commonly be referred to as a fault or an accident. He celebrates these faults and as a consequence aims to challenge the viewer’s perception of what a ceramic form could be.

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4 Gorffennaf – 20 Medi 2026

Ymgorffori deunyddiau amrwd i archwilio ffurf, swyddogaeth, patrwm a lle

Mae ymarfer ceramig Deiniol yn ymchwilio i’r ddeuoliaeth rhwng rhythm ac anghytgord, a rhwng cydbwysedd ac anhrefn. Drwy ddod â deunyddiau crai ac amrwd ynghyd â’u hymgorffori mewn clai, mae’n chwilio am y man cydseiniol rhwng llif rhythmig troell y crochenydd a chynwysiadau amharus a di-drefn o fewn y clai wedi’i addasu.

Gan ymddiddori mewn ‘lle’, mae llawer o’r cynwysiadau carreg a’r deunyddiau a ddefnyddiwyd yn cael eu casglu o’r bryniau ym mro enedigol ei gyndeidiau yng ngorllewin Cymru, neu o’r ardal o amgylch ei stiwdio bresennol yng Ngorllewin Swydd Efrog. Caiff y cynwysiadau hyn eu cymysgu yng nghyfansoddiad y clai, sy'n golygu bod y weithred o daflu yn dasg o gadw cydbwysedd gofalus rhwng tuedd y clai wedi’i addasu i rwygo a syrthio a’r rheolaeth sydd ei hangen i greu’r ffurfiau.

Mae’r defnydd o haenau o wydredd tra hylifol wedi’i gynllunio i gynyddu symudiad y gwaith ac i wrthbwyso’r holltau a’r craciau sy’n ymddangos wrth i’r cynwysiadau aflunio, toddi, a rhwygo cyfansoddiad y gwaith yn ddarnau. Mae’r weithred olaf yn ymwneud â thanio dwys â choed sy’n cyfoethogi’r gwaith ymhellach drwy drawsffurfio’r clai ac arwynebau’r gwydredd o fewn awyrgylch cythryblus yr odyn.

Yn y pen draw mae gan Deiniol ddiddordeb mewn creu ffurfiau cerameg sy’n gwthio ffiniau gallu’r deunydd ac yn fwriadol annog yr hyn a fyddai fel arfer yn cael ei ystyried yn wendid neu’n ddamwain. Mae’n dathlu’r gwendidau hyn ac, o ganlyniad, yn anelu at herio canfyddiad y gwyliwr o’r hyn y gall ffurf cerameg fod.

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