The Halsted-Berning clan gathered outside Ardmore’s Caversham Gallery: the Dachshund is Sid, the Vizsla is Abby, and standing on the left is Fée’s son Jonathan Berning, with Megan Berning, Fée Halsted- Berning, Catherine Berning and Perla, the Great Dane.
This Butterfly Garden Stand was made by Ardmore artist Nelly Hlongwane.
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Painter Slindile Mchunu sponges a white undertone onto an abstract rhino sculpture. Beside her is a repurposed ice tray containing a selection of underglaze paints, which are available in approximately 20 shades
elements, and the result is a world-renowned look that captivates an ever-growing legion of fans. Two of the animals that feature most frequently in Ardmore creations are vervet monkeys and African leopards, and the symbolic dimensions of each contribute key notes to the brand’s overall feel, “the leopard representing the elegance and sophistication of the brand, and the monkey adding mischievous nonsense that humanizes us”, explains Halsted-Berning. W hile Ardmore’s creations have a collective identity that makes them unmistakable, in the studio, individual artists are given considerable scope to work in areas that particularly suit them. Each maker is also encouraged to develop their own recognizable style. “Some painters prefer to work in a realistic manner,” says Halsted-Berning, while others “enjoy using flat shapes and patterns. Alex Sibanda prefers to model elephants, hippos, and riders, while Moshe Sello really enjoys modeling monkeys. And Thulani Mntungwa loves creating lyrical vessels.” Younger and newer artists receive considerable mentoring
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Unpacking the kiln after a second firing. The first firing dries the clay and makes it porous, and the second firing is performed post-painting, to seal the paint onto the piece. The kiln is in use almost every day, depending on the artists’ productivity speeds, and the distribution of the various pieces in each kiln firing at each stage is a skill in itself, as works need to be placed evenly apart to ensure appropriate and equal heating.
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