	Rita TERNES (Germany) Dates: 1955- She studied at the State Technical School for Ceramic Design in Höhr Grenzhausen (1978-1981). Her early vessels were loosely related to functional forms but later made pieces that were more freely sculptural. After 1982, she shared a workshop with Thomas Naethe and moved with him to live in a self-restored, remote village railway station (1988). She uses stoneware to make the forms, which are reduction fired in a gas kiln. She has developed a method of making that has affinities with dress-making in which the forms are created by cutting them out like a paper pattern and assembling them into the 3-dimensional form. The meticulous angular sculptures are painstakingly painted with bold stripes and geometric patterns, which echo the geometry of the form. Her work has been shown in exhibitions in Italy and Germany and in major museum collections in Germany. In 1990, she appeared at the Northern Potters Camp where the piece in the Aberystwyth collection was purchased.

Rita TERNES (Germany)

Dates: 1955-

She studied at the State Technical School for Ceramic Design in Höhr Grenzhausen (1978-1981). Her early vessels were loosely related to functional forms but later made pieces that were more freely sculptural. After 1982, she shared a workshop with Thomas Naethe and moved with him to live in a self-restored, remote village railway station (1988). She uses stoneware to make the forms, which are reduction fired in a gas kiln. She has developed a method of making that has affinities with dress-making in which the forms are created by cutting them out like a paper pattern and assembling them into the 3-dimensional form. The meticulous angular sculptures are painstakingly painted with bold stripes and geometric patterns, which echo the geometry of the form. Her work has been shown in exhibitions in Italy and Germany and in major museum collections in Germany. In 1990, she appeared at the Northern Potters Camp where the piece in the Aberystwyth collection was purchased.