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|Rupert Belfrage Applied Art|
|Having started pottery back in 1975, I gradually became more proficient at Wellington College in Berkshire where I came to recive the Plaistowe Potter of the Year prize before moving onto Florence, Italy to do 2 years of (S.A.C.I) Studio art Centres International. This was a period of creativity under Karin Palme and in the ceramics studio I began to fire the gas kiln and produced many different interesting shapes and glazes with the use of reduction gas firing. I achieved several US credits and was able to return to London and start some travels to the USA and Japan where I was inspired by the ceramics I saw and undertook various case studies of potters in the area made famous by Shoji Hamada and Bernard Leach, Mashiko.I did not return to England really until 1998 when I set up properly in London, and gradually built up my studio and work from there. There were periods before finally achieving a studio where I was doing my work at Morley College in London under Jill Crowley and Duncan Hooson. I have now moved onto to Cumbria and after a University Masters degree in John Ruskin studies at Lancaster, I was made well aware of the arts & Crafts as we know it and have set up twice thereafter, with the new studio shortly to be opened.|
|Plaistowe Pottery Prize,HRH Duke of Kent,Wellington College,1985|
7 USA credits at S.A.C.I in Florence Italy.1985-7
Lancaster University,2000-1,Masters Degree,John Ruskin Programme.
|I have had several commissions from restaurants in London, san Lorenzo's, Pasha, and nippon Tuk, as well as more sophisticated larger scale ones from arabella Lennox-Boyd, a landscape gardener, and Jasmin Cowin in New York, with a waterfall idea.|
Most recently a commission from Dubai is coming into reality as their developing country is seeing many new hotels/restaurants so the Meridien Dubai is commissioning a large scale Maroccan theme restaurant dinner service.
|Lunesdale Studio Trail.|
Hurlingham club Annual shows.
The Guild od West Lancs,various shows.
|Believing in good honestly produced craft work, veering away from the idea of machines making art but sticking to principles bought to us from the writings of William Morris and John Ruskin, and the Guilds that govern our output. Studio Pottery has an earthly feel to it and to see well made pottery and handle it, use it and collect it is a very rewearding experience, and a tradition that goes back thousands of years.|
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