Make Hauser & Wirth Southampton

Make Hauser & Wirth is a dedicated space for contemporary making and the crafted object, committed to showcasing some of the world’s best emerging and established artist-makers.

On View this Summer

Our current exhibition, ‘Of Making and Material’ is open until 10 Sep 2022.

The gallery is open Tue – Sat, 11 am – 6 pm and Sun, 12 – 5 pm.

All works exhibited are for sale. Contact us for more information.


Jump to:

Plan Your Visit

Opening Hours

Tue - Sat
11 am – 6 pm
12 – 5 pm

Contact Info

Call Us

Phone service not available at this location.

Make Hauser & Wirth Southampton Location

Send message

Hauser & Wirth

Contact us

Before You Visit

On Foot

Make Hauser & Wirth has one entrance, located at 50 Hampton Road.

By Public Transport

Plan your trip using Hampton Jitney or LIRR.

By Car 

Street parking is available on S Main Street.


  • Do not touch or climb on the artworks
  • Children under 12 should be accompanied by an adult at all times.

What’s On at Make Southampton?

What’s On at Make Southampton?

2 Jul
10 Sep
Southampton, NY

Of Making and Material

Of Making and Material

‘Of Making and Material’ will feature works by Adam Buick, Helen Carnac, Alexander deVol, Florian Gadsby, David Gates, Harry Morgan, Rosa Nguyen, and Mark Reddy.

Among the objects on view will be ceramic forms by Buick made in response to landscape and geology; Reddy’s hand-crafted spoons rich with symbology; sculptures by Morgan exploring the fragility of glass combined with the brutality of concrete; and the vessels of deVol that spotlight the material properties of wood.

Image: Installation view, ‘Of Making and Material’, Hauser & Wirth Southampton, 2022. Photo: Thomas Barratt 

Adam Buick

Drawing upon his longstanding interest in and knowledge of geology, Adam Buick unearths not only the physical resources for his jars but inspiration for their aesthetic. The way he observes, experiences, and understands landscape is reflected in the embellishment of their surfaces and the materials within.

Taking inspiration from the form of the Korean moon jar, Buick’s thrown and coiled interpretations play with scale and the introduction of clays and organic materials. The unpredictable character of each jar comes from these natural elements and their metamorphosis during the firing process.

Image: Adam Buick, Inclusion Jar 4, 2022, Porcelain with Dolerite pebble, 37 cm / 14.6 in. Photo: Thomas Barratt 

Helen Carnac

At the core of Helen Carnac’s work sits unfired enamel disrupted by incisions and drawn lines into the surface and areas scraped away to reveal the steel below. The vitreous enamel, when fired, is fused to the surface of the steel and becomes a new surface. The expressions are largely abstract, yet nevertheless always imbued with something lively and vibrating. Carnac herself considers the bowl form as a three-dimensional surface on which to ‘draw.’

(from left to right)

Image: Helen Carnac, Up, across, along Vessel, 2022, Vitreous Enamel on steel, 9 x 17 cm / 3.5 x 6.7 in. Photo: Thomas Barratt

Image: Helen Carnac, Cap Vessel, 2022, Vitreous Enamel on steel, 9 x 15 cm / 3.5 x 5.9 in. Photo: Thomas Barratt

Alexander deVol

Alexander deVol examines the material properties of unseasoned, high-moisture wood from recently felled trees, taking care to preserve the features he feels are aesthetically synonymous with the material’s origin.

His work focuses on co-operation with the material, allowing the characteristics and natural behavior of green wood to influence his design during the crafting process. As his work seasons, the wood continues to be active, naturally altering in form and colour, and rendering each piece truly unique. The outcome is an object sculpted in collaboration between maker and material.

Image: Alexander deVol, Souls – Emerge, 2022, Maple, 40 x 42 x 42 cm / 15.7 x 16.5 x 16.5 in. Photo: Thomas Barratt

Florian Gadsby

Florian Gadsby creates hand-thrown stoneware, functional pottery, singular objects, and vessel collections. Alongside the practice of making pots, he also creates informative videos and documents his work online to an audience of 2.5 million people across several social media platforms.

Sharing the techniques central to his creations, these videos discuss and delve more thoroughly into his ideas and making practice. Observed with a devotion to process, his work is characterized by simple forms, straight shapes, protruding lines, and sharp edges upon which his reduction-fired glazes can react.

Image: Florian Gadsby, Cylindrical Feldspathic Jar I, II, III, 2022, Reduction fired, high iron stoneware clay, dark green feldspathic crackle glaze, 10.5 x 5.2 – 23 x 10 cm / 4.1. x 2 – 9.1 x 3.9 in. Photo: Thomas Barratt 


David Gates

Questioning form and function, David Gates combines studio-furniture making with formal research, creating three-dimensional pieces inspired by cabinet furniture.

Structurally and visually, his work reflects a fascination with the vernacular asymmetric forms of industrial architecture while working with a rich repertoire of traditional techniques. Drawing on the rightness and expediency of agricultural constructions such as silos, sheds, gantries, and barns, Gates interrogates rural structural and sculptural qualities to provide the basis for his ongoing exploration of the collecting cabinet as a furniture type.

Images from left to right:

David Gates, And after the southern shore, 2022, Oak, ash, pearwood, cedar, chestnut, 127.5 46.5 32.5 cm / 50.2 x 18.3 x 12.8 in. Photo: Thomas Barratt

David Gates, Threshold 7, 2022, Oak, ash, 134.5 x 44.5 x 25.5 cm / 53 x 17.5 x 10 in. Photo: Thomas Barratt

David Gates and Helen Carnac, Elevator no.1, 2019, Oak, pearwood, cedar, vitreous enamelled steel, 126.5 x 40.5 x 36.5 cm / 49.8 x 15.9 x 14.4 in. Photo: Thomas Barratt

Harry Morgan

Harry Morgan’s approach to making fluctuates between the use of intuition, geometry, and material expression.

Morgan’s sculptural forms in glass and concrete are characterized by the unexpected marrying of these materials and his experimental approach to traditional processes. He challenges both the physical and cultural connotations of his chosen materials, reimagining the ancient craft of the Venetian glassblowing technique, ‘murrini.’

Image: Harry Morgan, Untitled 2022, 2022, Glass and concrete, 20 x 30 x 7 cm / 7.9 x 11.8 x 2.8 in. Photo: Thomas Barratt

Rosa Nguyen

Rosa Nguyen works primarily in the field of ceramics and glass, making sculptural objects, vessels, drawings, and installations in the form of compositional tableaux. Taking inspiration from the natural world, Nguyen’s practice is characterized by the incorporation of living and dead botanical form and vegetal matter into her pieces.

Assembled and manipulated through casting and preserving in both fired and clay gesso, given new life through dipping in liquid porcelain and sacrificial firing, her glazes in turn fuse the combusted vegetal matter into outwardly wild forms.

Image: Rosa Nguyen, Lost Flowers – In Praise of Kiku, 2019, Glazed Porcelain and stoneware, stones, combusted botanicals, 32 x 27 x 25 cm / 12.6 x 10.6 x 9.8 in. Photo: Thomas Barratt


Mark Reddy

Mark Reddy takes the modest, humble form of the spoon and imbues it with symbolic expression. With its lip, bowl, shoulders, neck and stem, its corporeal form is endlessly demanding. Utilizing the innate character inherent within green wood he expresses a complex narrative which is borne out of a close relationship with material, process, and land.

Reddy’s pieces possess a meditative memory of forgotten values and desires. He sees symbolism in the familiar utensil that has occupied a place in our everyday lives throughout our history and cultures. In creating sacred objects which explore the liminal divide between the functional and sculptural, subtle details and embellishments embody a deep connection to the seasons, place, and landscape.

Images from left to right:

Mark Reddy, Remembered Rituals VI, 2020, Native British woods, found objects, 75 x 61 cm / 29.5 x 24 in. Photo: Thomas Barratt

Mark Reddy, Remembered Rituals III, 2020, Native British woods, found objects, 78 x 64 cm / 30.7 x 25 in. Photo: Thomas Barratt

About Make

Make is a natural extension of the wider Hauser & Wirth gallery ethos—embracing art, craft, gardens, food, and architecture. Since launching in 2018 in Somerset UK, Make has presented work by over eighty artist-makers and provided valuable insights into material-led processes and the rich narratives of their practices.

Image: Installation view, ‘Of Making and Material’, Hauser & Wirth Southampton, 2022. Photo: Thomas Barratt 

Works exhibited by Make embrace material truth, provenance, sustainability, and the value of emotional engagement with the handmade.

In addition to a varied exhibition program, Make has hosted practical workshops, discussions, and studio visits to expand learning and engagement with makers and global craft organizations.

Image: Installation view, ‘Of Making and Material’, Hauser & Wirth Southampton, 2022. Photo: Thomas Barratt 

Be the first to know updates about Hauser & Wirth
Thanks for signing up. You must confirm your email address before we can send you. Please check your email and follow the instructions.
*By submitting your email address, you consent to receive our Newsletter. Your consent is revocable at any time by clicking the unsubscribe link in our Newsletter. The Newsletter is sent in accordance with our Privacy Policy and to advertise products and services of Hauser & Wirth Ltd. and its affiliated companies.