''I have always been interested in - why and how 'things' are made of clay. One of the major introductions I had to ceramics was digging Neolithic iron age and samien shards on archelogical digs somewhere in Wales while trying to survive as an art student in Birmingham. I am naturally drawn to shapes of artifactsand objects from other cultures and other times, but that remain timeless.
Erosion and change through time and nature are recorded in a piece. My main aim in mywork is not to compete with nature: but for the work to evolve within the enviroment. The minerals like iron and copper that I introduceinto the 'raku' ceramic surface have their own affect on the clay.Japan and Korea gave me another insight into raku, enabling me to develop my own techniques. I have always been interested with actual clay surfaces, rather than adding things on to the surface,such as glaze.
I love surfaces of old ivory, polished bone, tusks and washed up whale's vertebrae, etc. With this in mind and using porcelain and bone china clays, I make my forms. I biscuit fire them and find a place either to bury them or sink them in the River Avon outside my studio. I also take trips down to Cornwall and pesuade the Oyster Fisherman to put them amoung the oysters in the holding pens. Or find a 'safe' hiding place below the low tide level, to be aged, until my next visit when they can be found (sometimes not). I take them back to the studio where I then hone and polish the surfaces''.
Peter Hayes is based in Bath where his studio overlooks the Avon. He was selected to attend the Moseley School of Art at the age of 12 before continuing his studies at Birmingham College of Art. Having graduated at Birmingham College of Art, he became a craft advisor travelling widely for the Commonwealth Secretariat in Africa, India, and the Far East. These cultures greatly influence his work today. He has spent several years working as ceramist and sculptor with a large number of exquisitely beautiful surfaces. Peter returned to the UK in 1982 and converted a toll house in Bath into a studio. Since then he has worked incessantly to develop his thoughts and ideas using the techniques he has learned during his travels.
His work is sold internationally in galleries all over the world, including New York, India, the Nertherlands and London. He can be found in an impressive amount of public collections. Amoung others, he is in the permanent collections of the Museum of Modern Art in Kingston, Jamaica and Brussels, the J.B. Speed Museum in Louisville, KY and the Crown Estate in London.
Moseley School of Art
Fine Art BA Hons; Birmingham College of Art
2017 'Fresh' Art Fair, Cheltenham (BTW stand)
2017 Chelsea Art Fair, (BTW stand) Chelsea Old Town Hall, London
2017 Beside The Wave, Falmouth Cornwall
2015 6 Sculptures for Yatch, Mark Berryman Design
2015 Beside The Wave, London
2015 Wall mounted disc, private collection, Wadebridge, Cornwall
2014 6ft Raku Wall Disc, Studio Indigo, London
2014 Group of Sculptures, Terence Disdale Design, London
2013 Head mounted on Wooden Sleepers, private collection, St. Albans
2013 Raku Standing Stone, Private collection, Cotswolds
2012 Iron Infused Figure, Private collection, London
2012 Group of 5 Standing Stones with Bronze Boulders, private collection, Udaipur, India
2011 Raku Totem, private collection, Maryland. USA
2011 Glass Water Sculpture, private collection, Cotswolds
2002 Running Ridge Gallery, New Mexico
2001 Scottish Gallery, Edinburgh
2000 Contemporary Ceramics, London
2000 Anthony Hepworth Fine Art, London
1999 Graham Gallery, New York
1998 Galerie le Pignon, Netherlands
1993 Four Standing Stones - Lansdowne House, Berkeley Square, Stanhope Properties
1993 Pylons - Broadgate, London, Skidmore, Owings & Merril
1994 Mounted Stones with Gold Circle - 100, Ludgate Hill, London, Skidmore, Owings & Merril
1994 Sculpture, Stones - London, Private Collection
1996 Water Sculpture - Marlborough, Private Collection
1997 Totems, Water Sculpture - London, Private Collection
1998 Four Figures - Taipai, Taiwan bank Publications
Publications:1994 St.Ives Revisited - Peter Davis
1996 "Peter Hayes" - American Ceramics 12/2 (Review - Graham Gallery)
1997 "The Next Wave" - Emma Maiden ( see extract above)
1997 "Paintings, Sculpture and Vessels", Peter Hayes and John Emmanuel - Anatol Orient
1998 Ceramic Form - Peter Lane
1999 Raku, Investigations into Fire - David Jones
2000 Ceramics for Gardens and Landscapes - Karin Hessenberg
I have always been interested in - why and how 'things' are made of clay. One of the major introductions I had to ceramics was digging Neolithic iron age and roman samien shards on archaeological digs somewhere in Wales while trying to survive as an art student in Birmingham. I am naturally drawn to shapes of artifacts and objects from other cultures and other times, but that remain timeless. Erosion and change through time and nature are recorded in a piece. My main aim in my work is not to compete with nature; but for the work to evolve within the environment. The minerals, like iron and copper that I introduce into the 'raku' ceramic surface have their own affect on the clay. Japan and Korea gave me another insight into raku, enabling me to develop my own techniques. I have always been interested with the actual clay surfaces, rather than adding things on to the surface, such as glaze.