Artist's Statement Nancy Fuller is Taiwanese by birth and she was raised in Scotland. After training as a printmaker, she discovered wood-fired ceramics when she returned to Taiwan in 2000 to study Chinese Mandarin. She was instantly drawn to the elemental nature and beauty of the wood-firing process and sensed it would sustain her interest for years to come. Her dream to study with a master potter in the mountains of Japan finally came true for her when she was introduced to anagama master Suzuki Shigeji during a month-long residency at the Shigaraki Ceramic Cultural Park in Japan. She embarked on a year-long training with him, in the Shigaraki tradition. During her time there, she gained a very different understanding of ceramics, an understanding so dependent on time and place that it had to be completely adapted when she moved back to Aberdeenshire.
All Nancy's pots are fired in her anagama which she was able to design and build herself through the financial support of the Scottish Arts Council. The ancient forms of the Japanese tsubo and kame continue to inspire her, not only visually but also physically. The spatial awareness of the pots that comes through making, carrying and firing them gives them an almost human dimension. Coiling gives softer outlines which change further during the firing process, helping her achieve the natural quality she's looking for. The clay is the starting point for all her work and through her choice of raw materials combined with her firing technique she has developed her own wood-fired aesthetic.
2006-2007 Nakazatogama Studio; Shigaraki, Japan - Studying anagama firing and traditional Japanese ceramic techniques with Suzuki Shigeji.
2002-2005 Wenshan Ceramics Studio; Taipei, Taiwan - Studying ceramics with Lu Chia-ching (director of the Chinese Ceramics Association).
2002-2005 Jhunan Snake Kiln; Jhunan, Taiwan - Attended workshops on traditional Taiwanese techniques of processing clay, throwing, coiling and wood-firing with Lin Jui-hwa.
1999 MA History of Art and Archaeology of Asia School of Oriental and African Studies, University of London
1994 BA(Hons) Fine Art Printmaking Duncan of Jordanstone College of Art, Dundee
2010 - The Scottish Arts Council Professional Development Grant
2008 - The Scottish Arts Council Creative Development Grant
2007 - The Gordon Forum for the Arts Personal Development Grant & The Scottish Arts Council Professional Development Grant
2006 -The Great Britain Sasakawa Foundation Grant 2005 -The Craft Pottery Charitable Trust Annual Grant
2013 - A Strong, Gentle Presence: Pots by Nancy Fuller - The Watermill Gallery, Aberfeldy
2014 - Japanned - Gallery TEN, Edinburgh
2011 - Unite - Collins Gallery, Glasgow & Group Exhibition - Garden Gallery Hampshire
2010 - Origin of Colour: Fabric of the Land - University of Aberdeen, International Workshop of Ceramic Art in Tokoname - Tokoname Ceramic Festival, Japan & International Workshop of Ceramic Art in Tokoname - INAX Live Museum, Japan
2009 - Summer 2009 - Gallery Heinzel, Aberdeen
2008 - Nancy Fuller: Her Shigaraki Pots & Peter Swanson: Stoneware from his Anagama and Gas-fired kilns - The Harlequin Gallery, London
2007 - Living in the Forest - Maronie Gallery, Kyoto, Japan
2006 - WAVE by wave - The Traditional Craft Centre of Shigaraki, Japan
2005 - Work by Lu Chia-ching & Chen Su-li - Contemporary Ceramics Gallery, Sanyi, Taiwan
December 2010 - January 2011 - The International Ceramic Research Center, Skælskør, assisting Nakazato Takashi
July - August 2010 -The International Workshop of Ceramic Art in Tokoname, Japan
December 2007 - January 2008 -The Anderson Ranch Arts Center; Colorado, USA, studying with Nakazato Takashi
March 2006 - April 2007 - The Shigaraki Cultural Ceramic Park; Shigaraki, Japan
April 2005 - The Shigaraki Cultural Ceramic Park; Shigaraki, Japan
Nancy's work is fired for 4 days and 3 nights with a mixture of split pine and beech to temperatures around 1200 degrees celsius. The intrigue of the work is in the surface effects that result from the interplay of the wood ash and mineral inclusions within the clay. She is interested in her creative process being a measurement of herself on both a physical and mental level. For her, taking risks, and the discoveries made in doing so, is where the beauty of making wood-fired ceramics lies.