Writing a new visual language in clay is the defining feature of this relative newcomer to the world of global ceramic art. The London based Marshall-Brown burst on the scene only 3 years ago after he discovered ‘almost by accident’ the versatility of clay. The addiction he developed as a result of that discovery has led him to become one of the hottest new players. Before coming to Brussels his work could be seen in Singapore, London and Milan. Much like Hansen he uses the potential of clay to paint a canvas. Doing so his focus is on surface as opposed to form.
Marshall-Brown: ‘To have a material that can be used in such a wide variety of states and methods, for both functional and sculptural uses was captivating and I haven’t deviated from it since’.
Marshall-Brown is trying to convey a debate about how painting is translated into the language of different mediums. Creating for Marshall-Brown is more like reacting: to the materials, to the possibilities and to his state of mind. An interest in abstract expressionism guides him in experimenting with the glazing process, leaving dribbles of glaze, cracks and fingerprints and thereby introducing elements of painting into his ceramic practise. Size and form follow almost naturally.