Fiona Byrne-Sutton



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The Angel's Share , ceramic, length 110cm x h: 76cmx d: 26 cm

Blue Peninsula, (after Joseph Cornell), ceramic, crystocal, w:44cm, h:32cm , d:47cm

The Angel's Share, variation, ceramic, crystocal; w25.5cm, h: 31cm, d:33cm

The Angel's Share, variation in green and gold, ceramic, crystocal; w:25cm, h:25.5cm, d:38cm

Golden Gate (after Giotto) ; ceramic, crystocal; w: 25cm, h:27cm, d: 25cm

Untitled blue variation, ceramic; length 110cm, h: 15cm, d: 22cm


Fiona's free standing ceramic and crystocal assemblages, go under the name The Angel’s Share, an industry term for the portion of whisky lost in evaporation in the cask barrel. Here however, the phrase is a metaphor for the poetics of the temporal soul.
The soul is domestic. It likes a house, (the rectangles in Fiona's assemblages) and it daydreams in this cosy place. These daydreams share certain properties for the soul reflects on itself through form and image. The rectangle is terrestial and the circle is aerial. There is cosmic tension between the two. In Fiona's work these forms are present as themselves or embedded in motifs such as a shallow box, a recessed lair, a window, a beaker. Her distilled ceramic rectangles and circles are repeated images of interiority locating the angel’s share, within the viewer. It is the human spirit which is immense and sonorous and the viewer completes the work.
The composition, colour and rhythm of the 3 dimensional assemblages are informed by early Italian Renaissance painting; namely Duccio di Buoninsegna’s (d.1319), Maesta, in Siena Cathedral and Giotto di Bondone’s (d.1337), Scrovegni Chapel frescoes, in Padua, Italy. Joseph Cornell's assemblages and the poets Emily Dickinson and Rilke also have their place. Gaston Bachelard's book, The Poetics of Space, is insightful.
The assemblages' material process also engages with 1970s fine art formalist legacy through the repetition of minimalist rectangles, visible process (press moulded clay, monoprinting, collagraphy) and the deconstruction of narrative into discrete components. All photos by Michael Wolchover


Fiona lives and works in Glasgow and has exhibited across Scotland. In 2013 Fiona curated the cross media exhibition "Changing Ground, land and art" in association with the Barony Centre, West Kilbride which was supported by Creative Scotland Quality Arts Production Programme. The same year she was shortlisted for the Emerging Makers Award at ICF (International Ceramics Festival), Aberystwyth. Amongst other group shows, Fiona's previous work featured in "Conserving Ecologies: Craft and Biodiversity" at the Royal Botanic Garden Edinburgh, John Hope Gateway in association with Craftscotland and Creative Scotland in 2011.

Fiona's previous work - 2008-2013 - can be seen in the books, "Natural Glazes, Collecting and Making" by Miranda France and "Additions to Clay Bodies" by Kathleen Standen, both published by AC&Black.
In 2015 Fiona completed a postgraduate MA in Ceramics (with distinction) at CSAD (Cardiff School of Art) having completed an undergraduate degree in the same subject at Glasgow School of Art in 2008. She first started working with clay when doing a BA Hons in Fine Art (1980) at Goldsmiths School of Art, London, following which she worked as an exhibitions organiser, arts journalist, lecturer and housing officer before resuming her own work.
Fiona was Exhibitions Co-ordinator for the SPA (Scottish Potters Association) in 2011/12. In 2010 she received an artist grant from the Clackmannanshire Alliance, Scottish Government Town Centre Regeneration Fund and a Professional Development Grant from Clackmannanshire Council in 2009.
She was brought up in Switzerland and France and lived in Italy and London before moving to Scotland in 1988.