John Hinchcliffe

Return to DorsetConnegar Farm, 1996 to 2002The Hinchcliffes 48 returned to Dorset in 1996. They set about consolidatingtheir joint work, launching a Hinchcliffe and Barber website to promote thebrand and build up sales. 49 They also held successful sales of work fromthe courtyard buildings adjacent to their Victorian farmhouse, near to theBlackmore Vale town of Sturminster Newton. Once again, Hinchcliffefound a peaceful location, next to rich farmland in terrain marked byancient drove roads and farm tracks, with enough ground around the farmhouse to plant a small apple orchard, create bravura flower borders and tosustain a vegetable plot. 50His studio was enhanced by the addition of a printing press, and he quicklydeveloped a range of linocuts for sale (although he had been making linocutsfor private uses for many years). This range was called the Dorset decorativearts collection. The work helped to re-establish firm roots back in the favouredcounty of Dorset, and also helped him identify a new creative direction. Hespent time travelling, on the lookout for vernacular and formal images onbuildings, churches and roadsides. Motifs were then transformed into boldlinocuts capturing the essence of the chosen item. These were mainly selectedfrom the built heritage, though the sense of the natural world is never farbehind the crisp symbols of medieval church tiles or Saxon stone carvings.The series was an attempt ‘to portray and raise awareness of Dorset’s richand varied heritage’ 51 in a manner akin to the great precedent set out in the1930s by Paul Nash in his watercolours and photographs of Dorset for theShell Guide. 52 He liked the focus on ‘the particularity of things, everythingfrom tin roofs to road signs’ 53 This work came to the attention of theenvironmental charity Common Ground, and they commissioned Hinchcliffeto design a linocut showing the famous view of Gold Hill, Shaftesbury, whichwas successfully reproduced on a reusable organic cotton shopping bag. 54Hinchcliffe also spent time painting, using flowers from his garden to createrichly colourful still lives.Hinchcliffe and Barber also returned to work for the Russell-Cotes Art Galleryand Museum. This time they did not work independently, but as part of awider team of craft practitioners, invited after a national selection process,to create a striking new identity for the museum café. This was a challengingbrief, given the strong personalities involved, and the requirement to create adynamic but also homogenous public room, with all of the considerations of abusy café. The project formed the creative element of a major refurbishmentof the Russell-Cotes between 1997 and 2000, funded by a significant grantfrom the Heritage Lottery Fund. 55The team of makers were joined by museum staff as well as Stephen Levrantthe conservation architect for the overall refurbishment scheme. 56 Four othermakers contributed to the scheme: Matthew Burt (furniture); Natalie Woolf(floor tiles); Sasha Ward (glass ceiling); Miriam Troth (lighting and wallmotifs). Wendy Barber made an imposing and popular three-part tapestrywoven in linen and silk, with a naturalistic rendition of the coastline landscapeat the nearby Hengistbury Head, Christchurch. Hinchcliffe designed andpainted a substantial tile panel for the north retaining wall of the café. Thismarked a complete departure in his ceramic vocabulary: the first time thathe had created, in public, an entirely abstract ceramic scheme. The vibrantpattern of convoluted seaweed-like shapes, interspersed with rainbow motifs,was held in a structured and balanced arrangement. But the overall effect46 J o h n H i n c h c l i f f e J o h n H i n c h c l i f f e 47