WINTER 2011
NEWSLETTER www.anglianpotters.org.uk 1
CHAIRMAN’S REPORT REMOVAL OF
POTS FROM
EXHIBITIONS
Your Committee discussed the issue of members taking work away before the end of Exhibitions. Exhibitors are asked to take work early only following discussion with, and the agreement of, the Exhibitions Organiser.
EMAILS May I remind members of the essential need to keep the Membership Secretary up-to-date with your current and correct email address. I repeat my advice, given in recent Newsletters. If you are expecting info regarding advertised events, please contact the relevant organizer if you think you have been overlooked.
PHOTOGRAPHS Our Publicity Secretary, Sally Macpherson, still reports that she needs you to send her photos of your current or recent work. She needs to have a stock of images for producing art work for posters and adverts in magazines.
SUMMER EXHIBITION, CAMBRIDGE Our exhibition at Emmanuel College looked very good and I heard many congratulatory comments. Helpers were plentiful and willing, and I thank all who contributed in any way. Attendance at the PV was good and sales brisk. Overall takings were down on previous years, so it would seem that the economic situation is having an effect.
ICKWORTH WOOD SALE Anglian Potters put on a wonderful display and demonstrations at Ickworth again this year. The raku area was well placed near the public entrance and this ensured an enthusiastic audience. Ray Auker enjoyed the wrapt attention of all comers throughout the weekend. Rob Rutterford also entertained a constant stream of interested public with his handbuilding demonstrations. Many thanks are due to Harvey Bradley, Jerry
EDITOR’S NOTES
Cover: Results! Pots from the firings at Potters' Camp. Photo Chris & Martin George
At last we have some space in the Newsletter to devote to Potters’ Camp, with accounts written by happy campers, and a great selection of photos to give a taste of what it is all about! Side-by-side with the Christmas exhibition which is in full swing as I write, the new Anglian Potters website has been launched. Geetha Alagirisamy has done a fantastic job of redesigning
Finlayson, John Murphy and all who contributed to the success of the event.
JILL HEDGE I was shocked and most sorry to hear that Jill Hedge and her husband John, had been severely burnt in an accident with her new gas kiln. It shows how risky kiln firing can be. I am pleased to hear that both Jill and John are recovering well and wish them a complete recovery soon.
DAY EVENTS AT MUNDFORD The recent day events, Lisa Hammond and Ostinelli and Priest, were both most informative, entertaining, and very well attended. Well done to all involved.
APPLEYARD GALLERY, HOLT The Selected Members’ show at the Appleyard Gallery looked superb at the opening on Saturday 29 October. Twenty members' work was well displayed and sales seemed brisk. Visitors were impressed and expressed delight at the variety and quality of work on view.
CHRISTMAS EXHIBITION, ALL SAINTS’ CHURCH, CAMBRIDGE All is in hand for the Exhibition at All Saints’; with 70 members showing, it should be a great success. Seasons’ Greetings to you all. Victor
the website, with capacity to add lots more functions to it as time goes on. At the moment it is still a work in progress, but the future aim is to allow input from members to manage their own pages, as well has have online discussions, forums etc. to keep members connected with each other. Have a look at it, and let us know what you think. Carolyn
ANGLIAN POTTERS NEWSLETTER WINTER 2011 Page 2 Page 3 Page 4 Page 8 Page 12 Page 13 Page 14 Page 17 Page 18 Page 19 Page 20
Chairman’s Report; Editor’s Notes; Committee Setting up Open Exhibitions Lisa Hammond: Soda and Shino Event Potters’ Camp 2011 Selected Members’ Exhibition at the Appleyard Gallery, Holt Members’ Websites Anglian Potters at the Ickworth Wood Sale & Craft Fair Angela Mellor in Milan; Earth & Fire 2012; Potfest 2012 Events and Members’ Exhibitions; Ceramic Helpline Clay Stores Equipment For Sale and Wanted; Diary Dates, Membership Fees, Advertising Rates
ON SETTING
UP OUR
OPEN EXHIBITIONS
Some notes for the uninitiated To newcomers, the setting up of our exhibitions is a mysterious business. I remember my first few times, wandering around keen to help but not knowing what to do. This problem arises chiefly because we all arrive at different times, and those who live far from the venue and can only get there, say, at 10.00, are probably unaware that the leaders have been there since 8.30 and the procedure is in full swing. I’ve heard that some newcomers are perturbed by what they interpret as a disorderly melée, and are expecting to be told what to do. But things aren’t as simple as that. The Association is run on collegiate lines, meaning that there is a very minimal hierarchy and we all muck in and help where we see the need. Everyone’s help is welcome, and often vital, but if you arrive after things have got underway there’s no point in asking the curator of the exhibition what to do because by that time the pressure has built up and you might be barked at. He or she is just too busy to stop and explain each time someone new arrives. But don’t despair! We’re going to have a Co-ordinator, who will wear a badge and point you in the right direction. The trick then is to latch on to someone who seems to know what is happening. There is always a hard core of people who are bustling around more importantly than
others and have obviously been helping out for years. If you are having to make special arrangements to get in to help, contact the Exhibitions Organiser (see page 2) beforehand to ask when your help would be most useful. Here is a brief description of what setting up an exhibition entails: 1. All pots are unpacked and checked in outside the display area. With 60 participants each submitting 25 pieces, that is 1,500 pieces. 2. At the same time there is a team of people up at the storage depot loading all the display boards and other exhibition equipment into a van. 2. On arrival at the venue it is all unloaded, and another team checks the display boards and plinths and repaints them where necessary. 3. The display boards and tables are set up following a well-worn diagram. Again, this can be heavy work. 4. Those with electrical knowledge install the lighting. 5. The curator (the member who has been asked to undertake the delicate job of creating the artistic balance of the display*) decides which five pieces from each participant should be set out first, spreading out the larger and more ambitious potters’ work. This tends to determine where individual participants
Susan Van Valkenburg
CONTENTS
will have their site. Some curators prefer to do this themselves, others delegate to some degree. After this has been done you can begin to get an idea of how the exhibition is going to look. 6. A check is made that every participant has their five pieces out. The curator goes through the remaining stock, to seek out any work of genius that might have been overlooked. 7. Helpers are asked to fill in the gaps by fleshing out an individual’s display. At this point, usually by mid-day on the final set-up day, the exhibition begins to look a bit untidy and it is time to send most helpers home so that those in charge can move things around to create a more cohesive display. You can see that there’s a lot of pressure involved, especially at Emmanuel where we only have two days to do it all. A large body of people is needed, who just like you are there entirely voluntarily. And there are 50-60 fragile potting egos keen for a bit of massage. The more I think of it the more I wonder that the exhibitions get off the ground at all, dependent as they are on the generosity and goodwill of so many people. How can we hope to get it all right? And then, after the exhibition, we take it all down again. We can clear the venue in three hours. That’s quite something. Do come along and help. *If you’d like to curate an exhibition, or learn how to do it, please contact the Exhibitions Organiser. Susan Cupitt
Heather Graham
LISA HAMMOND: SODA & SHINO EVENT
4
with methods of introducing soda into the kiln. She tried various techniques but has settled on spraying soda simultaneously into ports at both front and back of her oil-fired kiln. She does still add a bit of salt towards the end of her firing but, since she has moved to Devon to set up the Kigbeare Studio, the police cars of the capital remain unsullied. Lisa is very much influenced by her experiences of working alongside Japanese potters both in England and in Japan and her work shows the fluidity, texture and tactility of the Japanese aesthetic. This is particularly apparent in the tea bowls she makes but also spills over into her other work – rough edges are allowed, asymmetry encouraged and the feel of a piece is important. Lisa likes to make what she describes as simple work for domestic use: faceted casseroles, coffee pots, mugs and beakers for soda
Above: creating a faceted dish; below: finishing a tea bowl
Heather Graham
Someone at Potters’ Camp asked how to reproduce the beautifully coloured runs of glaze that appeared on a piece of Lisa Hammond’s work. Her visit to Mundford demonstrated that such subtlety of glazing depends on a complex combination of clay type, throwing technique, the firing process and long years of experience. Even so, Lisa emphasised that the coming together of all these processes happens rarely and she feels she could spend the rest of her life trying to produce the perfect tea bowl. Like many other soda firers, Lisa started out using salt glazing techniques but firing a kiln in London immediately adjacent to a yard full of police cars seemed a bad idea given that the process led to the release of clouds of rustinducing hydrochloric acid. Soda firing seemed to be a safer, less polluting alternative so Lisa began to experiment
Heather Graham
Creating a faceted bottle firing but she also produces one-off pieces decorated with shino, a thick white glaze that can crawl and crack during slow reduction firing to give dramatic effects. The clay Lisa uses for throwing is relatively coarse and encourages texture; she may use a raku body or a combination of Sven Bayer’s woodfiring clay and Spencroft AWS/1G white stoneware (which contains sand). A variety of different tools are used for decorating. These range from modelling tools to make slashes in freshly thrown clay to a spokeshave for faceting thickwalled drier vessels and from a hammering tool used to pattern and texture a jug or bottle to a sharpened sliver of red pine used to carve and shape tea bowls. Lisa demonstrated throwing beakers and mugs off the hump. For the former, the sides were flattened inwards with the thumb and the soft clay marked with a wooden tool, the beaker was then thrown from the inside to push out the edges and soften the effect of the tool marks. Mugs were made in a similar way but were faceted by cutting upwards at intervals and again thrown from the inside to produce a contrast in texture between the faceted and unfaceted areas,
an effect that is enhanced during soda firing. In contrast to the fluid lines of her beakers and mugs Lisa’s squared or oval bottles, which are faceted when the clay has dried and stiffened to some extent, have an almost sculptural appearance. To make one of these bottles Lisa threw a heavy-based cylinder some 12 inches high, dried this with a blowtorch and cut it from its base. The pad of clay left on the wheel was extended and compressed and the cylinder recentred and reattached to it. For square bottles the sides are pushed inwards to form a tall truncated pyramid, while for multifaceted forms the cylinder is formed into an oval. The basal pad is trimmed to fit and the bottle shape completed by attaching a flattened coil of clay to the inner edge of the upper rim to form the shoulders of the bottle. This is then thrown up to form a low neck. The angular shape of the bottle is enhanced by beating with a wooden paddle and then faceted with a spokeshave using repeated downward strokes. Lisa finished her demonstration by showing us how she makes tea bowls and giving us some insight into the Japanese Tea Ceremony. The shape of the bowl is dependent on its intended use,
for ‘everyday’ tea the foot ring is deep so that the cup can be held between finger and thumb, not cradled in the hand as in the tea ceremony where the foot is shallower and bowls are differently shaped for winter and summer use. The outer surface of a thrown, thick-walled bowl is carved with a sliver of bamboo or red pine to give a shape that fits comfortably in the hand, is pleasing to the eye and with enough texture to give the possibility of beautiful glaze effects. Bowls that meet the approval of a tea master can exchange hands for more than £1500 but very few achieve this. To demonstrate the use of tea bowls Lisa whisked up some green tea and presented this in ceremonial manner to some volunteers in the audience. Although the hall at Mundford is rather lacking in the beauty and calm of a Japanese tea room – no gongs, flower arrangements or calligraphy – the handing of the bowl back and forth, with its most pleasing face towards the recipient, gave us a flavour of the event and some sense of the importance of ceramics in Japanese culture. This makes even more saddening the pictures Lisa showed us of the effects of the recent earthquake on the potteries at Mashiko. The damage and destruction 5
Kilns for ceramics New and second-hand equipment Kilns and furnaces serviced and repaired Potters wheels – pugmills
Essex Kilns Ltd Tel 01621 869342 email contact@essexkilns.co.uk www.essexkilns.co.uk 6
Carolyn Postgate
Carolyn Postgate
Heather Graham
Clockwise from top: a shino-glazed vase; small tea bowl; Japanese green tea and teamaking equipment; favourite bamboo and redwood tools, including the spokeshave; throwing faceted mugs and beakers off the hump.
Carolyn Postgate
Heather Graham
Carolyn Postgate
Heather Graham
of so many kilns and the devastating effect of this on the lives of the community can barely be imagined. A Mashiko Earthquake Appeal has been set up and details of this can be found on Lisa’s website : www.lisahammondpottery.co.uk. Liz Chipchase
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Susan Van Valkenburg
Susan Van Valkenburg
Camp life – clockwise from top: moving in the piano; Kit with his pots; Sophie after throwing her first pot; Victor cleaning raku; Liz, pizza queen; Sharon, piano player extraordinaire
Sally Macpherson
Andy Wright Sally Macpherson
Potters’ camp seems so long ago, in fact in about a week’s time we will be starting the ball rolling for next year’s camp with our annual ‘Camp Committee’ meeting. Immediately after camp I thought, rather than subject you all to my thoughts and memories of camp again, I would ask everyone who was there if they would write a short paragraph about what they liked best about camp; their favourite experience or the funniest thing that happened or their best pot or anything they thought might be of interest to other Anglian Potters. I got lots of responses and here they are:I have been a member of Anglian Potters for only a few months and this was my first Potters’ camp. I was warmly welcomed by everyone at camp. I knew a few people already but made new friends and contacts as well. I’ve never eaten so much pizza as I did on pizza night, and on Saturday night I even got up and danced. I use the word ‘dance’ loosely as anybody who saw me will confirm. This was after a half a bottle of wine, I might add! Everyone I spoke to was keen to share their knowledge of ceramics and the different firing kilns were fascinating. I enjoyed the wood firing and got some of my best results from it. I’m glad about this because I spent nearly a whole day chopping wood, but enjoyed being a useful part of the camp where everybody puts so much work into making it a success Thanks for a brilliant time. Michael Wickwar This was my first Potters’ Camp and I had a wonderful time. Everything was so well organised; clearly a lot of thought had gone into all the details. I enjoyed the whole experience, the social side – meeting so many new people – and the pottery side with all the different firings and workshops. The level of knowledge and expertise in different areas of ceramics was really impressive and at the same time all the activities were very relaxed and good fun. For me it was particularly nice that I could bring my two kids. They had a great time and already asked if they can come again next year. Perhaps it was beginner’s luck but I got several really good pots out of the different kilns. What I appreciated most, however, was the overall sense of inclusiveness, sharing and participation which is so enjoyable and very rare these days. Desa
Susan Van Valkenburg
POTTERS’ CAMP 2011
Andy Wright Desa Philippi Susan Holmes
large jug made by Mark Griffiths which was fired on scallop shells and came out well. Jeremy has tamed the salt kiln and almost every pot fired in this kiln came out as expected. Raku firing was better managed with an instruction afternoon for beginners and then slots for the more experienced. This meant Martin had time to be the model for the sculpture lessons rather than being trapped in the raku area for the whole of camp. We had some great entertainment starting with a romp to the pub for a pint on Tuesday for the early working party. Returning in the dark was a challenge with a rather large hole containing a wasp’s nest to avoid on the way home. Wednesday saw us all relaxing, after a day of frantic glazing, eating in groups with new and old friends. We ended with a singsong around the piano with Sharon. Thursday was fish-and-chip night for some after packing the kilns. Friday was the group Pizza night where we enjoyed Peter’s efforts, aided by his kitchen team. This ended with us all grouped round a bonfire with more singing and, yes, the piano did make it up the field. Saturday Evening is the big social event with a shared buffet meal and live music after all the kilns have been turned off. Unfortunately I had to miss this for the first time ever as my Goddaughter got married that day and I was at the wedding. Judging by the glass recycling and the rather pale faces I can presume a good time was had by all. I returned to help clear up and see the kilns unpacked and have a light lunch before going home. As ever it is one of my favourite weeks of the year, an experience that is hard to describe to anyone who has never been. It is in the perfect setting with the best host and the most fantastic company and you get to make and fire pots as well. See you next year. Liz Lewis
Modelling with Ray Auker: Martin George was the model. Susan Holmes finished her head with a Mohican!
Nikki Durrell
This was my first camp and, as I didn’t know anyone from Anglian Potters and hadn’t camped for more than 30 years, I left home for the camp with degrees of anxiety. The situation was not helped when my car broke down as I neared Chelmsford. I phoned the camp to let them know what had happened; Jerry picked up the phone and, without it being suggested, arranged for someone to pick me up and take me to the camp. This set the tone to the camp which was one of great friendship and generosity of spirit offered by fellow campers. My wish is to say thank you for this. Peter Chamberlain I had a great time at camp and have taken a full week to recover from the fatigue. The workshops were excellent and everything was well organized without it becoming a ‘boot camp’. I never seem to sign up to the workshops I am interested in BEFORE I sign up to other events...there is always some overlap and conflict of interest. I found myself running back and forth between the slip decorating and my timed slot in raku, and as a consequence my experiments at home with washing up liquid and slip look nothing like Ray and Colin’s! But the thing I value most from the whole experience is everyone’s friendship and patience. It was very easy to slip back into friendships with people I hadn’t seen for a year (sometimes longer). I learned a lot from talking to other potters and exchanging ideas. Anglian Potters are quite simply a lovely, friendly group of individuals and I wish more people were like them. Estelle p.s. the 3 man tent was rubbish...they never did materialise! I have been to every Potters’ Camp Anglian Potters have held so far. This year was exceptional for the fact that all the work was shared between the members. As far as I know no-one, not even Jerry, had to answer questions 24/7 which did happen in the old days. We had a very comprehensive programme where it was impossible to do everything but there was plenty to choose from. The new shower block was a success and thanks go to all those who helped in the construction, decoration and maintenance. Camp is primarily a place to experiment with different firings that are not possible in most domestic or school facilities. Over the years we have had good and bad results from all of the kilns. This year the wood kiln, under threat of remodeling, had some good results. I personally had a
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Andy Wright Andy Wright Andy Wright Andy Wright
All that chatting as you meet others in the kitchen all the magnificent pizza in real wood-fired pizza ovens, all that joining in with people to talk to; do we need all that stuff really? • The Saturday Social – let’s drop that and watch a big screen telly. JJ has just too much talent and all that enjoyment and old fashioned atmosphere may not be good for us. Getting up and dancing is probably dangerous for the health of some of the younger potters. Eating, drinking, laughing, making new friends, not sure there is any place for all that. • Could have raised a lot of other issues but may have done enough damage already. Loved every minute and all the changes were gilding the lily. Susan Holmes I loved camp this year. I always do. I think it’s the goodwill and enthusiasm and hard work and kindness of so many dedicated potters that make it such a special place. Favourites? Stoking the wood kiln in the early hours and pizza night singsong! And – oh those ingenious new loos.... Sue Knight Many thanks to you and all the other members who included me in Summer Camp activities despite my Parkinson’s and gave me their kind support when necessary. I was moved that you in particular found the time to organise my stay in the large static caravan which I found to be much more comfortable than using a tent. The occasion was a highlight in my pottery year. Dave Sally, not easy to write just a paragraph... What I like about Camp is that everyone is so lovely and friendly and talented, and you can get lots of tips and inspiration from other people’s work... plus learn loads of different techniques! This year I particularly enjoyed making my butterfly dish mould with the lovely Colin and of course working with glass for the first time. That was REALLY exciting, so thank you again to both Colin and Eileen! Also very good the evening dinners, complete with camp fires and “piano on the green”! But best pot?... I think it’s the one I will make for next year’s Camp! Love from Italy. Robi Good camp this year, I had to limp off wounded as my torn knee cartilage was very painful; my doctor says it doesn’t like the damp! On the Friday evening I was telling Michelle about the year they brought the piano out on a tractor and she didn’t believe me, then 30 minutes
Above: decorating with slip and coloured clay; below: the soda kiln; right: decorating with slips and colours on a vertical banding-wheel
Liz Chipchase
What a question!! Best moments? Seeing everyone again, lovely copper pots. Thank you Martin once again. Making pizza with Pete: how can one person do so much for so many, on his bike?!!! Wonderful JJ and his music. I could go on and on, oh mustn’t forget Eileen and the glass fusing, that was magic, and my beautiful tea bowls that Marie made me. It was all amazing, can’t wait for next year, thank you to all the people who worked so hard to make it happen. Hazel Murray I would like to thank everyone for making potters' camp such a great experience in every way! I have left yet again with a studio load of inspiration and knowledge and am looking forward to trying the techniques taught at the camp! I don’t know how Jerry puts up with us all descending onto his property but I appreciate his hospitality no end! There are no words to describe the Potters' camp experience as it is so unique and I am eternally grateful to be part of it! Kate Fisher All I can only say is, “Wow” to how good our camp was again this year. A few points though: • If you keep improving so much does it mean that it will get so professional that dull people might start arriving? • Sharon McGeady is just too good at that piano (music and everything in general): is it fair that one person has all that talent? Could we perhaps tax it or make her wear other peoples glasses so she had a kind of handicap, like in golf ?? • Ray Auker – clever, skilled, experienced, patient with muppets like us, works non-stop all camp, still smiling at imbecile comments (not from Sanya and me, of course, as we know lots of proper potting terms). • Jerry our Host – well, come on, nobody can be that gracious. Putting up with us lot running all over his home, chaos to his normal routine, we’ve reduced the value of the neighbourhood by thousands and still he is kind and helpful. Doesn’t seem right that we have to examine our own values and say would we let 60 crazy potters invade our homes? Just not fair on us, is it? • The location – can’t we find somewhere really rubbish that won’t make us desperate to come back year after year? The views, the wildlife, the getting away from it all? Do we need all that? Do we deserve it (actually some really, really do)? • The food – just too much and far too good. All that lovely atmosphere of contributing and sharing, so hard to find in the world today. Do we need all that really?
Susan Van Valkenburg Susan Van Valkenburg Desa Philippi
Sally Macpherson
Sally Macpherson Andy Wright
later, there it was under the walnut tree! Pat Southwood Wonderful camp again this year, it seems to get better and better! Great atmosphere, always so friendly and so great to see friends again. The new showers were brilliant ..... and a hairdryer!!! How much more luxury can we cope with? So look forward to next year! Marie Thompson Thank you so much for all the hard work you put in behind the scenes to make Camp run so smoothly. Hope you managed to relax and enjoy some of it as well! Nicki Darrell I have no photos (daughter lost my camera) and no specific memories apart from one soggy jumper, well sweated upon by a small lady while stoking the wood kiln.... (better not to repeat that one as you wore it afterwards - it was so funny!). There was an enduring sense of community and caring, mostly by you looking after and seeing that everybody was all right. It was great. Thank you Sally. I know it’s team work and that lots of people work very hard and that Jerry’s inclusiveness and generosity is essential, but you set the agenda for that atmosphere that pervades the camp which is still apparent after a couple of years nonattendance. I did enjoy it and the potting which spurred me into returning to the studio. I need to make lots more. Suena So there you have it, a good time was had by all. So onto next year; as I said at the beginning we are starting to plan already so if anyone has any interesting ideas for a workshop or demonstration or has a particular skill or technique they would like to show everyone, then get in touch. Sally Macpherson
Susan Van Valkenburg
Andy Wright
Above: glass fusion and chopping wood; below: pots from the Roman kiln
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SELECTED MEMBERS’ EXHIBITION
AT THE
APPLEYARD GALLERY
Opening Day The Selected Members’ exhibition at the Appleyard Gallery in Holt was to my mind a curatorial triumph. To place all 20 very different potters’ tableaus so comfortably and harmoniously amongst the pre-existing paintings, prints and furniture within the gallery space was a real feat of organization and creativity. The work sat so well that the overall effect was one of warm intimacy and it was not a difficult task for me to imagine the various pieces on display sitting happily within a domestic environment. Other viewers at the opening obviously felt the same as the red dots soon started to appear. There were too many potters taking part to mention or photograph all their individual contributions, but my lasting impression from the exhibition is one of a collective strength of craftsman/ womanship. After leaving the Gallery, I took a stroll around the town. Holt is packed to the rafters with small independent shops, cafes and galleries – all very tempting. Although Norfolk is a long way for most AP members to travel, I think there is a very strong interest in the arts and crafts out towards the coastal areas and it will be interesting to see how sales proceed over the next two weeks of the exhibition. Several thousands of calories later, I left Holt and drove home via Titchwell RSPB reserve and was lucky enough to see a family of marsh harriers enjoying the lovely warm autumn updrafts. Not a bad day, all in all. Many thanks to Susannah and David Thompson for all their help and expertise and for welcoming the Anglian Potters into their Gallery. Also a big thank you to Anja for organizing it all. Words & pictures: Lorraine Izon
Small packages: dormouse by Rosemarie Cooke 12
Domestic bliss
MEMBERS’ WEBSITES:
The glittering prizes: Ray Auker & Rob Bibby
Perfect harmony: Usch Spettigue, Victor Knibbs, Stephen Murfitt
www.angelamellor.com www.brendagreenart.co.uk www.broadwayceramics.com www.cathydarcy.com www.ceramicsbuyanja.co.uk www.corbykilns.co.uk www.chrisrumsey.co.uk www.davidwilliamsampson.com www.heathergrahampotter.com www.helenhpottery.co.uk www.helenmartino.co.uk www.iangeorgeceramics.co.uk www.ingridhunter.com www.janburridge.co.uk www.janehollidge.co.uk www.jjvincent.com www.johnmasterton.co.uk www.judsonsinfrance.com www.katharina.klug-art.com www.lolaswainpottery.com www.madeincley.co.uk www.maggygardiner.com www.mariamcullumceramics.co.uk www.matthewblakely.co.uk www.obypottery.co.uk www.patsouthwood.co.uk www.potterycourses.com www.potterycourses.net www.richardbaxter.co.uk www.robbibbyceramics.co.uk www.roceramics.co.uk www.rockwellpottery.com www.rowanhumberstone.co.uk www.sculpturelounge.com www.secretceramics.co.uk www.stephenmurfitt.co.uk www.susancupitt.co.uk www.suffolkstoneware.co.uk Contact the Editor if you want to add your site to this list. www.anglianpotters.org.uk
Beautiful and useful: Colin Saunders & John Masterton
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ANGLIAN POTTERS CRAFT FAIR
AT
Why are potters at a wood fair? Well… someone has got to use the wood chippings and sawdust; and raku people know what to do with them. Our involvement goes back a few years to when Ian George arranged for Anglian Potters to take part in a very ‘laid back’ traditional wood sale on the Ickworth estate. The nature of this has now evolved into more of a craft country fair – but we just enjoy being there. What do Anglian Potters get out of it? As always, you get out of things what you put into them – and a lot of people put a lot into Ickworth. Pyromaniacs cater very well for themselves with four raku kilns and numerous reduction bins being brought. There is a growing rapport with the crowds and many people are being initiated into the ‘mysteries’ of the raku processes. Inside our marquee we had 17 tables with over 26 potters displaying their work and many demonstrating. Certainly on Sunday we had a good footfall. Outside we had a continuous throwing demonstration and hands-on modelling for the children. What about next year? Feedback comments to me this year included “such an enjoyable event”, “potters are very kind, and always encouraging” and “I value being part of
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ICKWORTH HOUSE WOOD SALE
AND
such a supportive group of people” and “it was my best year for sales, especially when I sold the unfinished piece I was making on Saturday”, “the raku area was particularly good I thought”, and “as much as anything it’s the exposure that Anglian Potters gets that is valuable”. All that and the National Trust organizer looks forward to seeing us again next year… * If you would like to be included at Ickworth 2012 please get your applications back to me as early as possible following the publication of the Summer newsletter in May. In previous years places have been taken up very quickly. Words & pictures: Harvey Bradley
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Sue Slegg
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ANGELA MELLOR
IN
MILAN
I was recently invited to exhibit at Officine Saffi, a new Contemporary Ceramic Art Gallery in Milan. The exhibition called Translucencies showed the very competent sculptural work of Swiss ceramist Arnold Annen who likes to experiment with the relationship between the object in its environment through space and light. Margaret O’Rorke’s thrown sculptural forms grow from the potter’s wheel, the process of firing and a sense of adventure between light and space, incorporating lighting technology. My own translucent bone china explores the effects of light on the landscape, especially in coastal areas where the infinite variety of organic contours, tonal contrasts and patterns provide a continuing source of inspiration. Exploring the characteristics of bone china and paperslip (a medium I developed during my MA Research), I seek to re-interpret my visceral response to these natural phenomena. The exhibition opening was very well attended with special guest Anita Besson who has been inspirational to Laura Borghi in her undertaking of this new and exciting gallery in the centre of Milan. I also spent two days in Faenza where I visited the Museum which houses a large collection of majolica ware. The winners of the International Ceramics Competition which the Museum had purchased over the years were also exhibited. On the second day I was invited to give a slide talk to students at the Institute of Art and Ceramics, which was very well received. Translucencies Arnold Annen, Angela Mellor, Margaret O’Rorke 12 October to midNovember 2011 at ‘Officine Saffi’, Milan Angela Mellor www.angelamellor.com
POTFEST 2012 Application forms go live on the Potfest website at the beginning of November. To see what happened this year with images of those who took part in the Park and the Pens see www.potfest.co.uk
ANGELA MELLOR Christmas Open Studio Exhibition ‘Winter Light’
Melanie Max – Paintings Colin Saunders – Ceramics Open weekends: Dec. 3/4; 10/11; 17/18 Opening hours: 10.30am - 5pm 38A St Mary’s St., Ely, CB7 4ES
CALLING ALL POTTERS...JOIN
US FOR A
CELEBRATION
OF
CLAY
ACT NOW - DEADLINE FOR APPLICATIONS IS 5PM, 2 DECEMBER 2011 We can hardly believe it but Earth & Fire, one of the premier ceramic events in the country, will be celebrating its 18th birthday next year. Every year potters from across the UK, mainland Europe and further afield have come to Nottinghamshire to sell direct to the public from market stalls set in the grounds of the ruined ancient abbey. With a full programme of demonstrations, campus stands showcasing the next generation of potters and trade stands selling tools of the trade Earth & Fire is truly a celebration of clay in all its many forms. We plan to welcome over a hundred potters to Rufford Abbey next year representing the very best of studio pottery. We’d love to see all our old friends again - if you haven’t been for a couple of years we’d love to see you back - if you’ve never been we’d love you to come and join us. We’ve simplified the application process and made it completely online which has enabled us to waive the application fee we’ve charged in the past. All the information about the event, venue and selection process is on the new updated webpages along with the application form.We’ve also put together a Frequently Asked Questions section and you can download the last two catalogues to get a flavour of the event if you are new. For full details of the event and how to apply for a stall at the 2012 Earth & Fire Ceramic Fair at Rufford Abbey go to www3.nottinghamshire.gov.uk/enjoying/culture/arts/earth-and-fire/ 17
EVENTS & MEMBERS’ EXHIBITIONS Decorated Plates & Platters A two-day Anglian Potters event covering the throwing and decorating of flat-ware. Participants can choose to attend either day, or both sessions. Part 1 - Throwing plates and larger platters, employing a variety of methods. (Several different clays will be available.) Course Fee: £25. Venue: Ray Auker’s Studio, South Norfolk. Date: Saturday 3rd March 2012 Time: 10am-4pm Part 2 - Decorating plates & platters, differentMariam approaches to applying surface Cullum Cathy design. Methods used will include inlay, majolica, slip, tube lining and modelling. D’Arcy Course Fee £35 Venue: Cathy D’Arcy’s Studio, Mildenhall. Date: Saturday 18th March 2012 Time 10am-4pm Those attending Part 2 only will need to bring two plates or platters in a leatherhard state. Parts 1 & 2 will be repeated on Sunday 4th and Sunday 19th if Saturdays are over-subscribed. To book your place contact Susan Cupitt: susan.cupitt@gmail.com Tel 01223 311937
WORKSHOP
WITH
OSTINELLI & PRIEST
Following on from their popular demonstration day, Ostinelli & Priest have agreed to run a workshop for Anglian Potters. It will be a one-day course on a Saturday in February 2012 (date to be confirmed). The course fee will be £60 per person, including all materials, clay, cutting wire etc. There will be a maximum of 10 places allocated on a first-come firstserved basis, and depending on the level of interest, there may be a workshop on a second day. Contact Frank Logan for more information and to book a place: 01359 688353
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CERAMIC HELPLINE Members to contact: Alan Foxley: handbuilding, reduction firing 01799 522631 Colin Saunders: mould-making, transfers, slipcasting 01379 588278 Victor Knibbs: oxidised stoneware, electric kilns, modifying clay bodies 01480 214741 Deborah Baynes: raku, stoneware, earthenware (reduction & oxidised), salt glaze 01473 788300 Beryl Hines: general, earthenware, raku 01473 735437 Usch Spettigue: raw glazing/single firing 01473 787587 Margaret Gardiner: salt / soda firing 01279 654025 Sonia Lewis: high-fired ware, porcelain 01353 688316 Angela Mellor: bone china paperclay and slipcasting 01353 666675 If you are willing to give advice and be added to this list, please contact the Editor.
MARGARET GARDINER will be showing her wares at these two venues in East Anglia before Xmas as well as at Jesus Lane of course! Crafts at Blackthorpe Barn 3-4, 10-11 December Rougham, Bury St Edmunds, Suffolk IP30 9LZ www.blackthorpebarn.com Art Unwrapped For Christmas Saturday 12 Nov-Friday 23 Dec The Babylon Gallery, Waterside, Ely, Cambs, CB7 4AU
AP CLAY STORES Clay from Valentines, Staffs: an inexpensive source of clay for members. Phone to confirm availability and to arrange pickup during office hours. Sold in 12.5 kg bags. Please note that paper clay is no longer stocked.
STONEWARES:-
Firing 1150°C -1300°C Special Fleck £3.85 ES5 Original £8.20 White B17C grogged £5.75 ES40 Handbuilding £10.65 ES50 Crank £7.75 V9G Dark £4.00 Potterycrafts on TV: Kevin Millwood is demonstrating on the first Saturday of each month on the Create and Craft channel (Freeview 36, Sky 671 and Freesat 813).
EARTHENWARES:-
Firing 1080°C – 1140°C Red £3.45 ES130 White £6.90
PORCELAINS:-
Firing 1220°C – 1250°C P2 £8.10 Royale £11.15 Royale Grogged £11.70 Audrey Blackman £12.65
Brick House Crafts operate from 5,000 sq ft premises in Essex. They are pleased to confirm the continuation of their 10% discount scheme to members of Anglian Potters on raw materials, clays (up to 1/2t) and hand tools. Lessons available on an hourly basis together with City & Guilds Level 2 & 3 courses (100% pass rate to date). Contact Mary or Maureen Tel: 01376 585655 www.brickhouseceramics.co.uk
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WANTED
FREE
DIARY DATES 2012
SMALL RAKU KILN
EQUIPMENT & MATERIALS
Please contact Susan Cupitt t: 01223 311937 e: susan.cupitt@gmail.com.
Free to a good home • Excellent Potter’s Mate wheel with bats • Two decorating wheels, one bench and one pedestal • Two pugmills: 1 vertical wallmounted, 1 horizontal on a base • Kiln: 5 cubic top-loader ringer (Fordhams Thermal System) downdraft propane-fired, two burners • Kiln, dismantled: 14 cubic ft front-loader – boxes of high temperature thermal insulated bricks for hot-face, door in one piece. Metalwork to remake the base, two thermocouples and two pyrometers. • Four burners and burnerbricks. • Other burners for another kiln. • Kiln shelves for both kilns. • Cones for accurate firings • Clay: lots of different types, probably about a ton in 25kg bags. • Bins to store in. • VG9 stoneware (Valentines) • some bags of porcelain, • possibly some Valentines Special Fleck. • Wheeled metal trolleys for storing bins. • Glazes and bins • Glaze materials: Potash Feldspar, Quartz, China Clay, Whiting, Dolomite • Metal Oxides: Cobalt Blue, Red Iron, Tin, Copper, Titanium • Sieves various, mixing paddles for glazes • many pottery sundries, tools etc. Please contact Desmond Clover t: 01263 511 465 (North Norfolk)
Nigel Edmondson: 5 February 2012, Mundford www.nigelandlibbyceramics.co.uk Douglas Fitch: 25 March 2012, Mundford www.douglasfitch.co.uk AGM & Pam Schomberg: 20 May 2012, Mundford www.pamschomberg.com
WANTED SHELVES AND PROPS FOR 1300°C KILN Write To: D. Potter, the Vineyard, Bunwell Low Common NR16 1SY
FREE
Chris & Martin George
Old Britannia Wheel in good working order, FREE to a good home. To be collected. Contact Jane Atkins t: 01760 721348 e: janeatkins@gmail.com (Swaffham area)
Experiments with decorating pots for the wood firing at Potters’ Camp 20 20
MEMBERSHIP FEES Ordinary £27 (half year £15) Joint £45 for two people at the same address – half year £25 Institution £50 for a college or workshop – half year £27 (details on application to the Membership Secretary) Student £10 for full-time ceramics students – proof of status is required
ADVERTISING RATES Price per issue, 4 issues a year Full page w 18cm x h 26.8cm Half page w 18cm x h 13.4cm Third page w 18cm x h 8.8cm 2 column w 11.8cm x h 17.6cm 2 column w 11.8cm x h 8.8cm 1 column w 5.7cm x h 17.6cm 1 column w 5.7cm x h 8.8cm Leaflet inserts (350) Copy dates: Spring Issue Summer Issue Autumn Issue Winter Issue
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DEADLINE FOR THE
SPRING NEWSLETTER :
1 FEBRUARY 2012 FOR PUBLICATION BY:
1 MARCH 2012