Wake This Land
Featuring:
Max Bainbridge, Helen Carnac, Ken Eastman, David Gates, Nicola Tassie & Mark Reddy
Curated by Jacqueline Moore
5th September - 18th October 2026
Wake this Land engages directly with our complex and shifting relationship to place through material, inviting an imaginative and tactile response. Through their divergent perspectives and disciplines, from clay to wood, metal and textiles, the artists’ experimental investigations explore new and evolving notions of the land that surrounds us. Possessing a unique visual language, the works on view reflect the entanglement of nature and the human, with both traces and echoes of land use and lives lived. The exhibition presents narratives of journeys and encounters, rural environments and seasonal change exploring both our collective experience of the natural world, human presence and the artists’ intimate reflections on identity, refuge and belonging. Through the confluence of intention and meaning, we witness the human spirit and material reach out their hands to each other, shaping our perceptions via a distinct set of processes and resonances to place.
About Jacqueline Moore
Jacqueline Moore worked for several years as a professional photographer, in the field of portrait and dance before establishing her own London-based photographer’s agency, Black Dog Represents. She represented photographers across design, advertising and editorial, directing and producing global campaigns and curating photography exhibitions. She was also ambassador and patron for the Photographers Gallery, London, supporting the gallery’s move from Covent Garden to Ramillies Street and fostering links with clients and related industries. She extended her representation to craft artists, with a material focus on ceramic and wood, showing work through her Moore Gallery pop ups. She was keen to promote and support the work of artist-makers in London and Somerset, having been a passionate collector of the crafted object and contemporary craft for many years, with a special interest in British studio ceramics and the evolution of material investigation in the applied arts. In 2018, she was approached by Hauser & Wirth Somerset to establish a crafted arts gallery in Bruton, Somerset, an extension of the main Hauser & Wirth Somerset site. With a responsibility for the gallery’s vision and strategy, she developed an exhibition program for Somerset and took the format to London, Southampton, NY, Los Angeles and Zurich. Across a 7-year period, she worked with over 80 craftspeople and curated over 45 shows worldwide, changing the landscape for craft exhibition and appreciation. Her unique approach championed a breadth of material discipline with works reflecting both a conceptual and functional narrative. Jacqueline continues to originate material-focussed exhibition content as an independent curator whilst running a crafted arts collection advisory service.
About The Artists
KEN EASTMAN
Ken Eastman, born in 1960, is a pivotal figure in British ceramics. His artistic journey began with his studies at Edinburgh College of Art (1979-83) and the Royal College of Art, London (1984-87), laying the foundation for a prolific career marked by numerous honours and international recognition. Eastman's work revolves around the concept of the vessel, utilising it as a vehicle for expression and form. Through the medium of ceramics, he seamlessly merges the roles of builder and painter, exploring shape, structure, tone, and colour. Alison Britton aptly describes his work as a journey into increasing abstraction, playing with both form and surface, culminating in a harmonious blend of sculpture and painting. In addition to his studio practice, Eastman's work is held in prestigious public collections worldwide, including the Shigaraki Ceramic Cultural Park, Japan; The Museum of Fine Arts, Houston, USA; The Powerhouse Museum Sydney, Australia; Museum Boijmans van Beuningen, Rotterdam, Netherlands; Landesmuseum, Stuttgart, Germany; Musee des Arts Decoratifs de Montreal, Canada; The Fitzwilliam Museum, Cambridge, UK; Museu de Ceramica de Manises, Valencia, Spain and the Victoria & Albert Museum, London, UK. He has also been honoured with awards such as the 'Premio Faenza' in Italy (1995) and the 'Gold Medal' at the World Ceramic Exposition 2001 in Korea. In 2024 Ken Eastman was shortlisted for the LOEWE Foundation Craft Prize. He exhibits internationally.
“Ken Eastman is an alchemist potter. He shapes things out of clay, puts them through the fire of the kiln and of his imagination, translating the stuff of earth into something translucent, transcendent, so that, to echo Seamus Heaney’s startling words from ‘Seeing Things’,...in that utter visibility, the stone’s alive with what’s invisible.”— Jane McCabe
Ken Eastman
On The Road
2026
White stoneware, painted with coloured slips & oxides
25 x 30 x 12 cm
Ken Eastman
Don’t Get Around Much Anymore
2023
White stoneware, painted with coloured slips & oxides
65 x 36 x 34 cm
Ken Eastman
Shaping Silence
2019
White stoneware, painted with coloured slips & oxides
43 x 34 x 7 cm
MAX BAINBRIDGE
Spanning a material language of wood and metal Max Bainbridge’s work seeks a grounded presence in the physicality of the sculpted object through his enduring relationship to the natural body of the tree. By working with trees that have fallen where they once grew, his sculptures are a direct and intimate connection to land and place. Exploring the human condition and the need to protect ourselves in times of crisis, his works, carved from wood, often sit in relation to objects cast in metal as he looks to how our fragile and complex place within the natural world can persist and endure. Through the stripping of bark, casting of wood and hollowing of trunks Bainbridge explores what is imbibed within these trees throughout their lifetime. He looks to how their environment has shaped and changed them, and in doing so, reflects on our own place within the natural world. By shifting the narrative from strength and fertility to that of vulnerability and mortality, each sculpture offers a different lament on what it means to be human, to exist within a fragile and ever-changing ecosystem. By embodying the monumental presence of the tree into objects on a more intimate human scale, his works become quiet reflections on our relationship with the natural world and the importance of evaluating our place within it. Bainbridge trained at Chelsea College of Art (BA Fine Art 2013 & Foundation 2010) and he has exhibited his work at: Make Hauser & Wirth (Somerset 2018/2024), Sarah Myerscough Gallery (London 2019/24), Ruthin Craft Centre (Wales 2018/2024), Informality Gallery (London & Oxfordshire 2022/24), Amelie Maison D’Art (Paris 2022/24), New Art Centre (Roche Court 2020), Oriel Myrddin Gallery (Wales 2019), Ditchling Museum of Art & Craft (Sussex 2018); Awards include: John Ruskin Prize Finalist (2024), Jerwood Makers Open (2019), QEST Scholarship (2019), Collect Open (Crafts Council 2018); Residencies: Make Hauser & Wirth (Braemar, Scotland 2023), Need Make Use (Pitt Rivers Museum 2017).
Max Bainbridge
Homefire
2026
Beech wood
45 x 45 x 45 cm
Max Bainbridge
Corpus
2026
Beech wood
35 x 40 x 320 cm
HELEN CARNAC
Helen Carnac is an artist, maker and curator who lives and works in Somerset. She gathers source material and visual imagery from the surrounding landscapes and is drawn to human interventions in the land – agricultural structures and infrastructure, and the folds and textures of worked land. Carnac’s work is grounded in observation, attuned to, and embedded places and topographies. She focuses on the micro detail of surface patination — rust, corrosion and lichen. Setting up her studio in the early 1990‘s, Carnac develops projects using methodologies that are rooted in an acute awareness of physical location, place and working practices. She has worked extensively in the UK, Europe and USA. Her work explores the explicit connections between material, process, and maker. She has worked with many materials in numerous contexts, but her area of expertise is the combination of vitreous enamel on metal. She is interested in how one material might be known through another. Through a particular knowledge of metal, her approach has been to test and explore other materials and processes. Understanding the attributes of a material; density, malleability, patina, corrosion, tensile strength, and oxidisation allows her to test the attributes of another. She is also interested in developing new ways in which materials co-exist and support each other and how those materials change together over time in different environments. Projects include, Visiting Artist, Centre for Print Research, UWE, Bristol; (2022-3); Artist in Residence, UCL Public Art and Institute of Making, London (2019). Exhibitions include, Affinities, Craft Study Centre, UK, 2025; The Shape of Here, Make Hauser & Wirth, UK, 2204/25, Objects of Contemplation, Make Hauser & Wirth, UK, 2024; Cut & Fold, Make Hauser & Wirth, UK, 2023; Holding Space: Contemporary Enamel Vessels, Springfield Museum, Missouri, USA (2023); Like Paper, Solo exhibition, Galerie Noel Guyomarc’h, Montreal, Canada (2022); Impertinente, Musée des Beaux-Arts de Limoges, France (2022); Blaze - International Contemporary Enamel Art Exhibition, Taiwan (2018); Meister der Moderne, Munich, Germany (2017); UK Pavilion at the 10th Cheongju Craft Biennale, Crafts Council and British Council (2017).Solo exhibition, Galerie Noel Guyomarc’h, Montreal, Canada (2022); Impertinente, Musée des Beaux-Arts de Limoges, France (2022); Blaze - International Contemporary Enamel Art Exhibition, Taiwan (2018); Meister der Moderne, Munich, Germany (2017); UK Pavilion at the 10th Cheongju Craft Biennale, Crafts Council and British Council (2017).
Helen Carnac
Seed Head Vessel
2026
Vitreous enamel on copper mesh and iron wire
15 x 16 cm
Helen Carnac
Meadownotes II
2026
Imprinted and embossed paper, graphite, dried plant material, thread and oak
87.5 x 63 cm
Helen Carnac
Iron Earth Vessel
2026
Vitreous earth from the artists home in west Somerset, enamel on copper shim and iron wire
19 x 18 cm
DAVID GATES
David Gates designs and makes ‘striking pieces of three-dimensional art, inspired by, but not delimited by the idea of cabinet furniture.’— Emma Crichton Miller, Crafts Magazine (2017). Working in rural Somerset, Gates’ work is centrally concerned with how furniture, as a contextually entwined sculptural entity, is connected to the objects it contains and the space it is situated in. His recurring motif is the collecting cabinet and the cabinet of curiosities. Gates’ work has a relationship and affinity with agricultural and industrial architecture, the silos, barns, sheds and pylons of the British landscape. Tightly made traditional joinery and cabinet making are combined with split and cleaved pieces, wood that carries the marks of its working, whether sawn, split, planed or scraped. David Gates’ work is exhibited and collected internationally. He received a Gold Award at the Cheongju Biennale, South Korea (2015) and was a winner of the Jerwood Contemporary Makers, UK (2010). His work is held by the Nasjonelmuseet, Oslo, Norway, and the collection of the UK Crafts Council. Selected exhibitions include: Exhibitions include, Affinities, Craft Study Centre, UK, 2025; The Shape of Here, Make Hauser & Wirth, UK, 2204/25 ‘Objects of Contemplation,’ Make Hauser & Wirth, London, UK (2024); ‘Affinities,’ Make Hauser & Wirth Somerset, UK (2023); ‘M2 Artists,’ ASC Gallery, London, UK (2022); ‘Taste Contemporary, Odd and Even: A Collection,’ Maison Louise Carre, Bazoches-sur-Guvonne, France (2021); and the 10th Cheongju Craft Biennale, Crafts Council and British Council, South Korea (2017). His published writings include: ‘From in Our Houses to The Tool at Hand: Breaching Normal Procedural Conditions in Studio Furniture Making,’ in ‘Craft as Problem Solving,’ (Ashgate, 2016); and ‘History in the Making; the use of talk in inter-disciplinary contemporary craft collaborative practice,’ in ‘Oral History in The Visual Arts,’ (Bloomsbury, 2013).
David Gates
From Bardon to Stream 2
2026
English oak, cedar of Lebanon
116 x 54 x 40 cm
David Gates
From Bardon to Stream 1
2026
English oak, cedar of Lebanon, douglas fir
135 x 40 x 36 cm
David Gates
Five pieces from the series In Our Houses, Anon.(pts1-7), and Intelligent Trouble
2008-10
Oak, thread, recycled steel, metal bucket, paint
Various sizes to 124 cm high
David Gates
Threshold 8, 3 & 9
2023
English oak, cedar of Lebanon, steel, sycamore
NICOLA TASSIE
Ceramic artist Nicola Tassie initially studied painting at the Central School of Art but took up ceramics soon after completing her BA, establishing a studio in Hoxton in London in the 1980’s. She has a broad-based practice which easily encompasses both wheel- thrown editions of functional pots - most especially jugs - as well as more sculptural works which explore the expanding precincts of ceramic form.
Her works have been exhibited in London at the London Art Fair; Collect: international art fair for modern craft and design; Fog design fair in San Francisco; Tremenheere Sculpture Park, Cornwall. She was selected for the Crafts Council’s, A Future Made programme and exhibited during Miami Design Week, 2016; and is now represented by Hostler Burrows Gallery in USA. She has an on-going collaboration with the designer Margaret Howell, making limited editions tableware and designs for lighting. She continues to work from her ceramics’ studio in east London.
Nicola Tassie
Condition of Boundaries
2022
Glazed Stoneware in 56 parts
66 x 195 x 27 cm
Nicola Tassie
Various stoneware pieces
(click view all work below to see futher details)
Nicola Tassie
Stile
2021
Stoneware with engobe in five parts
38 x 34 x 40 cm
MARK REDDY
Mark Reddy’s expressive sculptures with their profound sense of place and unique visual poetry possess both recognisable elements and cultural signifiers whilst simultaneously exploring the natural properties of wood. Resembling three-dimensional line drawings, his singular forms and composite assemblages are poised, just on the point of balance, held in delicate tension between motion and statis. Mark Reddy looks to nature for the roots of our co-evolution, sourcing organic materials on daily walks along the lost ways through the woodlands of Somerset, England. A modern-day gatherer and storyteller, he is drawn to the found, reimagined through the subtle intervention of the artist’s hand. A branch of oak wood – shaped through carving, forming, joining, and treating with mordant, oil, and pigment – retains the spirit of its origin while gaining both a powerful physical presence and metaphorical meaning. With a deft sensitivity to lineand gesture, Reddy draws out these strange figurative, animate forms, part nature, part artifice. For the artist the final compositions hold deep significance. Placed in pairs or familial groupings, each work appears in conversation with another, asking to be heard. Both angular and elegantly curved, they embody an apparent fragility and a primal energy. Through the work, Reddy explores a complex narrative borne out of a deep connection between material, process and land. Reframing our reciprocal relationship with the tree and our woodlands, as both terrestrial and otherworldly, Reddy reflects on the fragility of all living things and the disruption of our natural environment. He considers how the tree shapes our land and heritage, honouring our kinship and equality with the natural world. Reddy’s focus on wood art stems from an early fascination with the simple, functional form of the hand carved spoon - with all its cultural symbolism and its sculptural elements of head, neck, shoulders and torso. The iconic shape of this utilitarian object has become an integral part of our everyday culture over the course of history, symbolising ritual and kinship, ceremony and provision. Reddy's sculptures abstract the archaic object into vivid totems that – individually or as an ensemble – reflect the interconnectedness and presence of the natural world. Mark Reddy studied at the Central School of Art in London before working as an illustrator and creative director in design, print, and television, gaining international recognition. Throughout his career, he has been compelled to make, giving form and voice to organic materials. His work has been exhibited at The Study in London, Open Eye Gallery in Edinburgh, Primavera in Cambridge, Make Hauser & Wirth in Bruton, Somerset, London and Southampton, New York. Awards include D&AD Awards, Creative Circle Awards, British Television Awards, and the Creative Circle Presidents’ Lifetime Achievement Award.
Mark Reddy
Sentinel 1-7 | Spoon Totems
2022
Dims on request
Native British Woods
Mark Reddy
Seven Pod Spoons
2026

