It is not easy to put into words the effect that Halima Cassell’s remarkable ceramic sculptures have on you when you first encounter a well displayed section of her work
– Zachary Kingdom
Cassell’s work encompasses and generates complexity and surprise. All of her sculptural work shares a language of geometry and volume but each is intriguingly different
– Elli Herring
Working mostly with ‘naked clay’, that is without the use of glaze or slip, Cassell first carefully carves and then smoothes and burnishes to remove any blemishes, so virtually making the surface ‘ disappear’, leaving the form clean and prominent
– Emmanuel Cooper
Halima’s work demonstrates incredible dedication and energy; one thing is clear, she will be among the future pathfinders and leaders.
– Alan Grieve, Chairman, The Jerwood Foundation
The most inspiring ceramic work I have seen in thirty years! Beautiful, mesmerising, powerful and thoughtful. Genius! Love, love, love this work.
– Judith Ramsgate, 53 years old
I love this artist’s work. How she keeps her molten flowing themes through different media – stone, concrete, wood and even glass. Long to touch them. What a unique eye and hand she has. Wonderful.
– Maureen Lepman
While working, Cassell becomes deeply involved in each piece to the point where she is unaware of her surroundings even watching her work on a piece for a few minutes, it is obvious that the process commands all her attention
– Emmanuel Cooper
She was sketching constantly and continually sought to transpose her drawings into sculptural forms. The surface as well as the shapes emerged together in sculpture which often combined enormous complexity with simplicity and unity.
– Helaine Blumenfeld OBE FRBS Dlitt
Beautiful – amazing to see someone work with such a variety of material to create such stunning, intricate pieces. I can imagine them out in the world, near water and nature. Beautiful, thank you.
Her main preoccupation and sculptural impulse is to penetrate beneath the skin of the form to reveal the structure within – the crystalline seed of the stone, or the skeleton-like armature she perceives within the clay. She does not carve exteriors but reveals interiors – the folded abstract inner landscapes of her singular and highly imaginative vision.
– Andrew Lambirth, Art Critic - Spectator Magazine