“As I work my way into the making process ideas become clearer, the sculptures refer to maps, measured drawings or perhaps graphs. Most grids have built-in meaning, they help us to make sense of the world; as cultural forms they are rhythmic, repetitive, almost soporific. The making process on the other hand is one of constant mindfulness; it’s quite tense really, the anxiety of getting it right and keeping it together.”
Pim has been long known for his individual approach to making ceramics. During his long career he has consistently challenged the prevailing point of view, something that continues to inform his work today. His current architectural vessels do not look like ceramics; Ceramic Review comments that “recent pieces explore space in a way that defies gravity’s threatening effect on unfired clay and the limits of the structural strength of his lattices. These current works still persist in exploring the disguise of their base material.”
Pim’s recent work is made of paper clay, it is first constructed in paper or lino, cut and held with masking tape. The sculptures are made from paper clay slip which has been extruded into grids which are allowed to dry before being assembled. After a biscuit firing, the pieces are glazed, sometimes over several firings, using textured glazes which emphasise the structure of the sculptures. The resulting, delicate lattice structures, reminiscent of architectural, urban structures, are in fact much more robust than they appear.
Pim has had 18 solo shows and has participated in numerous group shows internationally. His work is represented in a number of private collections and in 24 public collections including the V&A museum, London, the National museum of ireland, Dublin, The Los Angeles County museum of art and the Stedelijk Museum, Amsterdam.
From 1990 - 2011 Pim held the post of Lecturer in ceramics at the National College of Art and Design, Dublin.
Pim lives and works in London.