Chloé Rosetta Bell is a multidisciplinary designer approaching her practice from the viewpoint of an artist, craftsperson and researcher. Her practice examines the dialogues that are formed between people and the landscapes from which they work and live. In particular, Bell has an interest in the relationships that are developed in the food industry.
2019: MA Royal College of Art
Distinction Dissertation Translating Nature: An Investigation into the methodologies in Craft and ‘Nature-Study’.
2017: BA Plymouth College of Art
2019: Home of Preston Fitzgerald, London
2018: Plate Up, Devon Guild of Craftsmen, Bovey Tracey
Royal College of Art Work in Progress Show, London
2017: London Design Fair, Old Truman Brewery
Breaking Through, Plymouth College of Art
Best of the Summer Show, The Gallery Plymouth College of Art
Pastures New, The Byre Gallery, Millbrook
Plymouth in Practice, Leach Pottery, St Ives
2016: Contemporary Craft Festival, Bovey Tracey
2014: Berwick Watchtower, Berwick Upon Tweed
The Late Shows, Newcastle Upon Tyne
Weston Park Graduate Show, Weston Under Lizard
2012: Piran Strange, London
2019: Assistant, Studio Marlene Huissoud, Paris
Tableware, Restaurant, The Kitchen Table, Marylebone
Tableware, Restaurant, Sosban & The Old Butchens, N Wales
Social Media Manager, Royal College of Art Ceramics & Glass
2017-18: The Future Kept, Online Store
Midgley Green, Store, Clevedon
2017: Makers For Refugees, Auction
2016: Website Designer, Tregear Pottery, Isle of Wight
2014-16: Shop & Studio Assistant, Tregear Pottery, Isle of Wight
2017-19 The Griffin Scholarship - Royal College of Art MA
2017 Potclays Award
2018 Time, Gill Meller
2017 Brand Brilliance, Fiona Humberstone
Featured in Craft&Design
Featured on Katie Treggiden
2016 Emerging Maker, Ceramic Review
My current collections are research-driven and have been formed in response to two Michelin star restaurants; The Kitchen Table, in Marylebone and Sosban & The Old Butchers, on the Isle of Anglesey. Restaurants develop unique relationships with their food suppliers. These relationships are not only formed in order to source extraordinary food but simultaneously form connections between chefs and their supplier’s landscapes. The restaurants I have chosen have a particular focus on exceptional British produce, both have daily changing menus which depend on the finest produce available. My objects have two dimensions:
Firstly, to elevate the relationships between supplier and restaurant through the inclusion of by-products - found in the supplier’s landscape - within my own production methods. The glaze formed for Kitchen Table is developed from the waste oyster shells at Porthilly Oyster Farm.
Secondly, to generate sensual objects that enhance the dining experience of each restaurant; to amplify the sensory experience of the food provoking reflection upon taste and the pleasure of eating.
The collections forge physical and sensory connections between the restaurants, their suppliers and the natural landscape from which the ingredients are sourced.