KAYLEIGH PETERS
Cluster Crafts Exhibitor | 2022 & 2024
LAIMA, THE BIRTH-GIVING GODDESS | 2024
Kayleigh Peters (b. 1987) is a British artist, focusing on the space she inhabits as a woman through the paradigm of craft. By enveloping the deep connection to material and the body through the contrast of ceramics and textiles. Through her experiences of battling poor gynaecological health and going through a hysterectomy at 34 years old. She has used her work to reflect the internal, physical, and imagined battles of being a woman living with chronic illnesses. Graduating as a mature student from the University of Brighton with a First-class honours’ degree in 3D Design and Craft in 2021.
ARTEMIS | GODDESS OF YOUNG WOMEN 2024
Her work has recently been exhibited with AKA Contemporary and Thrown Contemporary. She previously exhibited with Cluster Crafts in 2022, and was also selected for the LSM Art Award with the same body of work, Internal Examination. Currently she is undertaking commissions, and collaborative projects, which has led to a collaborative project making vases with Charlotte Hodes. Her most recent show is a group show; All of the Things None of the Time, at Curiously Gallery in Berwick-upon-Tweed. She will also be exhibiting in the Ferens Art Gallery Summer Exhibition in June 2024. .
EILEITHYIA, GODDESS OF CHILDBIRTH | 2024
INTERNAL EXAMINATION 3 | 2022
INTERNAL EXAMINATION 1 | 2022
INTERNAL EXAMINATION 6 | 2022
HIDDEN 1 | 2022
HIDDEN 3 | 2022
HIDDEN 2 | 2022
“Material is central to my practice, and I focus on form before function. Through making with clay there is a connection to the earth and life. The vessel is synonymous with the body, and through the exploration of abstracted non-functional ceramic vessels. The work is the simplicity of reducing body to simple form, which is found through the act of reflective auto-biographical making. These vessels become an act of quiet activism, seeking to encourage conversation and engagement around the taboo subject of hidden illnesses. This is connected through the fighting of my own hidden illnesses and the taboo nature of them. Through the connection of auto-biographical making and research into health through time, this led to embodying the narratives of historical ideas, myths and legends of Gods and Goddesses into the work. Through the importance of looking back at how we built our ideas surrounding what should be hidden and who can change the outcome. As we find ourselves in a time of underfunded healthcare full of gendered biases, I am asking; how we got here and how do we find equality and equity in healthcare – or is it time to look once again to the Goddesses. ”
INTERNAL EXAMINATION 4 | 2022
HIDDEN COLLECTION | 2022
IN THE STUDIO
BEFORE FIRING
AFTER FIRING