A collection of porcelain works made in response to Copped Hall, exhibited as part of the Winter’s Wayzgoose exhibition.

The Wayzgoose Collection is a combination of objects derived from Elizabethan decorative motifs and forms imagined to ooze from the brickwork of the semi derelict architectural structure. The collection consists of a number of small groups of slip cast, hand built or carved porcelain forms, each one adorned with platinum lustre and a select few with steel and aluminium additions.

Carr’s exploration of proportion through repetitive forms is evident in this body of work. Swans stand as a collection of 25 identical objects; an army standing guard, elegantly watching from a platform nestled within their historic arch. Other organic forms congregate in groups, arranging themselves into geometric, repetitive gestures while bending to the will of the environment from which they spring forth.

For three days and three nights the vast cavernous vaults of the historic and legendary ruined mansion Copped Hall in Epping Forest were fully opened for the first major exhibition of contemporary art on site.

Curated by artist Alexis Soul-Gray and A Plan Projects founder Catherine Bagg, The Winter's Wayzgoose featured exciting new works by 20 emerging and established artists. Fact and fiction collided in this celebration of monument and regeneration. Each artist's work exploring an aspect of the hall's rich history, from the first performance of Shakespeare's A Midsummer Night's Dream of 1594 in the grounds of the house to the disastrous fire one Sunday morning in 1917, which left the building devastated.
Through painting, sculpture, print and light, lost interiors were resurrected, fragments of Elizabethan decoration became manifest and new myths were created.