The Society of

CORK POTTERS

Pat Connor

Photograph by

2020

celebrating 40 years

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Cover front and back

Pat Connor

Photograph by

2003

Pat Connor

In my sculpture the figure predominates whether human or animal. I tend to combine the techniques of throwing, pressing and modelling. For me the essence of the artist's odyssey is both the medium and the message it conveys. Like Munch's silent scream of unbearable emotion or the work of the Swiss artist Giacometti, whose works inhabit spaces of silent intensity.

Pat Connor was born in Dublin and studied at NCAD, moving to West Cork in 1971 to set up a ceramic studio producing both domestic and sculptural work.

He was a visiting lecturer to NCAD and Crawford College and Limerick College of Art & Design from 1976 - 1986. 

His work can be seen in several public collections including the Arts Council of Ireland, the Crawford Municipal Gallery and National Museum of Ireland. Pat has represented Ireland at the Paris Biennial in 1980 and Japan. From 1988 - 1992 Pat lived in New York where he worked on a series of figures at Mugi Studios. Returning to Ireland in 1993 he continues to work from his studio in

Schull, West Cork.

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Horse & rider

Photo Rolan Paschoff

Head with hat

Photo Rolan Paschoff

Paris Biennale 1980

photograh by Nigel Rolf

SOCIETY OF CORK POTTERS

Jim Behan, Jim Turner and Pat Connor (Ireland) 'Three Masters' 2013

Jim Turner's generosity in sharing his ambition to build a soda kiln at his workshop in Rossmore with Cork potters and friends created the back drop for this incredibly enjoyable, informative and inspiring workshop.

Jim Turner's sheer determinism and hard work to complete the soda kiln for its inaugural firing at the 'Three Masters' workshop was offset by the laid back but professional approach to both clay and life in the demonstrations by Jim Behan, and all perfectly complemented by Pat Connor's quirky but spontaneous creations.

Jim Behan and Jim Turner worked tirelessly, not only to pack and complete the soda firing on schedule but also shared their years of experience of working with clay in an instructive and easily understood manner. There were "oohs" and "aahs" aplenty as Jim Behan calmly and precisely flipped about 6lb of thrown clay upside down to complete the top half of one of his tall signatory jars. Participants were equally amazed by Jim Turner's use of an assortment of materials and tools, not commonly associated with ceramics, to create one of his unique 'paper clay' slabs. And Pat Connor, warmly and with good humour, permitted the participants through commentary, to influence the construction of his 'wingless flying elephant!

These three masters awed and inspired all by their confident but seemingly casual approach to clay, the result of many years' experience.

Catherine Ryan

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