Potters EMERGING
Issue 37
October –December 2024
The magazine is an independent journal. The publishers do not accept any liability for errors or omissions. The views expressed in the features are not necessarily those of the editor. Reproduction in part or whole must be with the consent of the editor. All rights reserved. 2024.
Introduction The online pottery magazine
This issue sees the end of another year. Thank you for following the magazine.
Due to the many shows being presented this December up and down the country for the public it is a pity we are not able to cover them. Should you attend any shows and would like to send photographs over, we will do our best to feature the work in future editions of the magazine. Email to paulbailey123@googlemail.com
In this edition Wendy Kershaw has captured the experience of being a maker at the very popular Potfest shows. They surely must be one of the most popular developments to have grown over the past few years.
Danae Browne from York Art Gallery has agreed to share with us her academic thesis on the maker Donald Locke. If you have not been to the Gallery yet it comes highly recommended and worth a visit next year.
The cover story features Helena Lacy who graduated from the Royal College of Art this year.
She looks at the experience of being at the worlds most important post graduate colleges. We look forward to following her career.
Paul Bailey Editor
Cover photo by : Heather Gibson of Helena Lacy RCA
Royal Academy Summer Show 2024
The Summer Show has long been established as a highlight in the arts calendar in London. It has also become another important venue for ceramic makers to show and also to sell their work if selected.
Nicola Turner’s large installation (abo ve) in the courtyard entrance to the gallery explores the boundaries between life, death and the liminal spaces in
between , and it is these themes that she identified in Reynold’s later works, where he would often juxtapose images of birth and renewal with darker forces.
Here Turner drew inspiration from Hercules fighting a pair of snakes sent by the goddess Hera, while a dark swirling mass is held at bay the sword of a nearby warrior.
The show ran from18 June - 18 August 2024 in the Main Galleries | Burlington House, Piccadilly, London.
This year over 1,700 works of art were on display with some by famous artists as well as members of the public.
Most of the ceramics as well as paintings, prints and sculptures were available to buy, with a number of works available for less than £250. Sales from the Summer Exhibition support the exhibiting artists and the RA's charitable work, including training the next generation of artists in the Royal Academy Schools
On the day I attended it was busy but not uncomfortable as is often the case for other shows in London. A fun day out.
Observation from a visitor:
Coming towards the building, across the courtyard is lovely and the sculpture, this year, added to this. Coming into the hallway it feels airy and bright. The display rooms, were bright and welcoming. Personally I like to see floor to ceiling art but for the artists themselves I think some could have lost potential buyers if they were right up near the ceiling, a long way for eyes to travel. The quality was good and would I have paid of an original piece I liked it ? if I had a bag of 20s . Yes I would.
No 129. People Like Us. Twelve smoke fired ceramic heads. Maureen Brigden
No. 477
Finding Stones - 3.
Ann Christopher RA
No. 476 Finding Stones – 4
Ann Christopher RA
No’s 494,495,496. Down Amongst The Trilobites Peter Randall- Page
Above. No. 743. Dancing Queen. Elsie Owusu
Above: No. 508. Budda Fragment. Neil Jeffries RA
Potfest in the Park
Wendy Kershaw captures the essence of this successful show
The venue this year was in the grounds of Hutton in the Forest, just outside Penrith
There were over a hundred potters taking part, including ones that had travelled from Germany, France and Holland. It’s really good to have our European neighbours coming back.
Potters take part primarily to sell by selling directly to the public, and it’s great to meet the people who buy your work, and the feedback is so valuable. The public also enjoys meeting the makers, getting to ask questions and find out about how the work is made, and the inspiration behind it. But a huge bonus of doing Potfest is to feel part of a bigger community, to meet old pottery friends and make new ones at each show, to build a network of friendship s and information. Potters are an amazing bunch, and the warmth and sharing that goes on in each show is wonderful, and keeps many of us going through the months to come.
Potfest in the Park
“Johnny Vegas with Wendy visiting the stand. A friend and supporter of all those potters taking part ”.
“ The start of another setup, and later celebrated with The Sausage Club when all the potters get together”
“Next year hope to be at Potfest Scotland, Potfest by the Lake and Potfest in the Park“
“The work of new exhibitors is ever more inventive. The animal above is by Heather Elvidge shown at Hutton in the Forrest”
“A new collection launched for this show ” .
Delux hotel room”
Helena Lacy RCA
Students apply from all over the world to come to the Royal College of Art, but what makes it so special to attract them? We asked one of this year’s graduates Helena Lacy –
A postgraduate course offers support and the freedom to explore new and experimental ideas, allowing you to push both your creativity and material knowledge. It encourages you to think about your work in different, often more theoretical, ways.
During my time at the Royal College of Art (RCA), my work progressed far beyond what I imagined. I had the opportunity to experiment with ideas I had long been uncertain about, and even fearful to try. Through lots of experimentation, I developed a new technique of glaze printing, something I might never have tried without the guidance of my tutors Steve Brown and Irina Razumovskaya.
We also had 121 critiques, which are incredibly valuable. I had mine with Celia Dowson, Annie Cattrell, Matthew Raw, and Felicity Aylieff. Engaging with such diverse artists allows you to view your work from different perspectives and pushes you in unexpected ways.
Photo: Heather Gibson
It also helps you become more comfortable with discussing and presenting your work, often inspiring you in new and exciting directions. In addition to the tutors, you have the incredible support from technicians like Lucy Whiting, Janet Mason, and Heidi Harrington, who help bring your ideas to life.
You are taught to manage multiple projects and occasionally face short deadlines, which can feel overwhelming at times. However, this experience has definitely improved my time management skills, and helped me feel more prepared to handle things in the real world.
The intensity of the programme may come from its transition from a two year to a one year course, which I personally believe is too short. Just as you begin to really experiment, you have to shift focus to making work for the public showcase.
It often felt there wasn't enough time to explore a wide range of ideas or take full advantage of the facilities. Early on, I had to accept that I wouldn't be able to do everything and should focus on fewer things, it was a shame to have to control that creativity.
At the RCA, you also have access to excellent lectures and talks, including business training and advice on what to expect after graduation. We had some fantastic workshops including one led by Patricia van den Akker, director of the Design Trust. This gave me a deeper understanding of how the art world operates and the confidence to put myself out the re.
Photo: Elliott Denny
Photo: Helena Lacy
I am a London-based ceramic artist specialising in sculpture and one -of- a-kind furniture pieces. Storytelling and material exploration are central to my work, particularly in how materials layer and interact to replicate natural movements and patterns. My work reflects a balance between structure and u npredictability, as well as flow and form.
I have a degree in Technical Arts and Special Effects from the Wimbledon College of Art and have completed several artist residencies, including at Shiro Oni Studio in Japan, AARK in Finland, and Zentrum Für Keramik in Berlin.
During my MA at the Royal College of Art, I developed a unique glaze printing technique that I have not encountered before. This technique has become a key part of my practice, and I am now focused on expanding and refining this technique as I push my work to the next level. My future work will incorporate these elements into larger sculptures, wall pieces and furniture, while continuing to also explore the play between material, form, and narrative.
What I gained from my postgraduate experience and what I would highly recommend to others is the inspiration and support from the talented artists who make up the tutors and technicians, as well as the invaluable learning and friendships you form with your fellow artists.
Object Narratives no.1
Photo: Helena Lacy
http://www.helenalacy.com/ https://www.instagram.com/helena.lacy.clay/?hl=en
Alfred Lowe Mud Australia awards the 2024 Shelley Simpson Ceramics Prize to APY Adelaide Studio artist Alfred Lowe
The Mud Australia is delighted to announce Alfred Lowe as the winner of the 2024 Shelley Simpson Ceramic Prize (SSCP) providing him with international exposure and a $10,000 cash prize.
Shelley Simpson, Creative Director and Founder of Mud Australia, describes Alfred’s work as striking, modern, colourful, and some of the most exciting work she’s seen. As a seasoned traveller she visits art galleries all over the globe and believes the contemporary ceramics from Australia’s indigenous artists are by far the most interesting.
“I have watched Alfred grow as an artist and his work is incredibly inspiring. After the referendum last year, I felt it would be remiss of me not to shine a light on Alfred’s work as well as the talent coming out of the APY Studio in Adela ide. I’m thrilled to award him this year’s prize and support his work now and in the years to come", says Simpson.
The Shelley Simpson Ceramic Prize is an annual initiative created to support the next generation of Australian ceramicists. These artists ma y be working across functional, small- scale, fine art, handcrafted or more complex commercial pursuits with ceramics.
“Visual arts have long been poorly funded and under-valued. With no change in sight, it’s up to individuals and businesses, like Mud Australia to do what they can to reverse the decline”.
As part of the SSCP, Alfred’s work will be on display across Mud Australia’s 12 retail stores globally including London, New York, Los Angeles and Australia. This is the first time that Lowe will have his work displayed internationally since beginning his career in 2021.
“I’m thrilled to receive the Shelley Simpson Ceramics Prize and have the opportunity to display my work in Mud stores across Australia and internationally. Shelley is committed to raising the profile of emerging ceramists and First Nations artists like myself. She has an incredible reputation of excellence in both ceramics and business, so to be recognised in this way, by her, is truly an honour.” says Alfred Lowe.
Alfred Lowe started making ceramics in early 2021 and now practises daily at the APY Studio Adelaide. His interest in fine arts is heavily influenced by his interest in politics and racial justice and how culture and identity are navigated and manifested in modern times.
“Flat footed, strength at the core with a posture of defiance, my works explore identity, culture and connection to country. Bright, colourful and fun, I want them to hold a presence in a room. A presence that rejects expectations, ignores preconceptions and embraces a provocative sense of rebellion.” says Alfred Lowe of his work.
Alfred is a proud Arrernte person from Snake Well in the Central Desert, north of Alice Springs. His work features handcoiled clay forms working with buff raku trachyte clay to produce a beautiful textured form to which he applies an underglaze to achieve a bright, flat finish to the colour and lines applied to the clay.
OFounded in 1994, Mud Australia is one of Australia’s longest-standing and most recognised craft-based businesses, producing premium porcelain homewares. From their studio in Sydney, each piece is handmade using a highly nuanced and hands-on process, using Limoges porcelain clay, quality pigments and clear glaze.
The pieces are minimalist in style, purposely designed to outlast seasonal fashion trends and last a lifetime. With over 90 silhouettes and 19 colours, the Mud Australia collection features items that can live happily in any creative space or interior.
OAlfred Lowe is an Arrernte person from Snake Well in the Central Desert, north of Alice Springs. Alfred grew up in Alice Springs, moving to Adelaide in 2014 to pursue university studies. Alfred started making ceramics in 2021 and practices at the APY Studio in Adelaide.
Alfred uses clay and ceramics to explore themes of Country using form and texture informed by his intimate knowledge of the Central Desert landscape. He hand builds forms, creating organic vessels and applies underglazes and a range of mark making to the surface. Alfred’s interest in fine arts is heavily influenced and inspired by his upbringing, living opposite Araluen Arts and Cultural P recinct and spent a significant amount of time there as a child/teen.
Book Review Low-Fire Glazes
by Ben Carter
The Complete Guide to Low-Fired Glazes For Potters and Sculptors
By Ben Carter.
Published by Quarto Publishing Group 2024
ISBN 978-0 -7603 -8584 - 5
£22.00 UK $30.00 US
This book is a ‘ must have’ for any ceramic studio. It almost achieves the impossible of being a serious reference book and balanced enough to be read in short sections. The beauty of the design allows you to reference the chemical proportions at the same time as giving you examples of work made by current makers.
So often for those just starting out on the long road of being a serious ceramic maker the role of glazes are left to last. One re ason might be is that there is just so much to learn, and experiment with to achieve an individual style. This book will answer those dilemmas.
Book Review: Low-Fire Glazes
It is bright and not too big. So often technical books feel like you need a weight lifting course to be able to use it. Also it is an American publication with a few odd spellings, but does not detract in any way.
Divided into five sections it covers - Getting Started; Glaze Formulation; Finding Your Surface; Tried and True Glaze Recipes and finally Lab Tests.
In the introduction Ben says, “This book is the guide I wished I had during my early career, as I spent yea rs researching how to make functional pots in the low-fire genre. When I first came to ceramics in the mid -1990’s I was taught that lowfire glazes were superficial .As I progressed I realised that this was not true.”
Ben Carter, the author of this book, is an artist, educator and podcast producer in in New Jersey USA. The later is called Tales of a red Clay Rambler, where he interviews makers about their work. He has all written Mastering the Potters Wheel
Discovering Donald Locke by Danae Browne. A study of Drawing Attention: Emerging Artists in Dialogue Introduction
Donald Locke (1930- 2010) was a highly regarded Guyanese artist who worked in both Guyana and Britain. His practice included painting, sculpture, and ceramics.
Following Guyana’s independence from Britain in May of 1966, many of Locke’s artworks dealt with issues of postcolonial identity. This article analyses three ceramic objects relating to this theme from his Timehri series.
The three artworks discussed in this article ‘Dish,’ ‘Timehri with Afro,’ and ‘Timehri Rock with Roots,’ were displayed at York Art Gallery as part of the British Museum’s traveling exhibition Drawing Attention: Emerging Artists in Dialogue (2023- 24; curated by Isabel Seligman).
Locke’s works were featured alongside drawings by emerging artists like Jake Grewal, Jessie Makinson, and Somaya Critchlow, all of which considered themes relating to the self and its reception (or refusal) by others.
In this article, Browne examines how the curatorial strategies employed in the ‘Self and Other’ section of Drawing Attention highlighted a marginalized historical artist and narrative.
Much of the research was conducted primarily through secondary sources, with some of the points based in the artist’s own writing. Input from both Shaw and Locke’s widow, Brenda Locke, also fa ctored into the text.
Timehri Afro, 2009
Drawing Attention, A Retrospective: Donald Locke and the concept of the ‘other’
By Danae Browne
As part of the Season of Drawing, York Art Gallery hosted the British Museum’s travelling exhibition, ‘Drawing Attention: Emerging Artists in Dialogue curated by Isabel Seligman earlier this year. For this exhibition, each participating gallery or museum added works from its respective collection in order to support the programme. While the exhibition was at York Art Gallery, the Gallery included three ceramic pieces by Guyanese artist Donald Locke (1930-2010) in the initial space. The purpose of this article is to contextualise the showing of those pieces in terms of the exhibition, exhibitions at other locations, and the making of the works themselves.
Locke’s three ceramic pieces, Timehri Rock with Roots #1, Timehri Afro , and Dish, constituted the centrepiece of the first section of Drawing Attention, en titled ‘Self and Other.’ Surrounding the pieces were depictions of people in nature, images of women reclaiming their bodies from the heterosexual male gaze, and artistic meditations on the relationship between the human being and the concept of the ‘anima l’ or ‘alien.’ The diagram below maps the location of the case in which Locke’s pieces were housed, along with the locations of the works on paper and canvas that were also included in ‘Self and Other.’
The ’Self and Other’ exhibition panel explained that the ‘directness’ and accessibility of drawing makes it a valuable tool “for examining the relationship between the personal and the external.”
Although composed of earthenware, Locke’s Timehri pieces conveyed the artist’s consideration of his personal history, alongside his reckoning with the entangled histories of Guyana formerly British Guiana and the United Kingdom with comparable directness.
The drawings and paintings that surrounded these pieces strengthened the illustration of that reckoning through their engagement with the post/colonial discourse around identity.
The diversity of artworks included in ‘Self and Other’ worked together to not only effectively introduce the exhibition, but also to embody the message of the curator.
The title ‘Self and Other’ referenced the discourses around subjectivity, and worked to uplift artists who due to various facets of their identity have been forced into the category of ‘Other’ by dominant cultural narratives.
Looking closely at this exhibition inspired me to consider the curatorial process, and to examine how the curator of Drawing Attention did just that: drew attention to the relationships between the artworks on display and the subjects they embodied.
Locke’s sculptures (especially Timehri Rock with Roots #1 and Timehri Afro) test the boundary between objecthood and embodiment. Through their incorporation of organic imagery (both two- and threedimensional), these ceramic pieces challenged audiences to consider their relationship to the exhibition objects and to visualize the message worked into the exhibition space by its curator.
In the context of ‘Self and Other,’ the formal qualities of Locke’s Timehri pieces arguably functioned as a commentary on the ‘othering’ of people of colour specifically people of African descent in Eurocentric discourses. Timehri Afro, for example, is a work of earthenware with a rounded form. There is a lack of uniformity in the shape of the piece that suggests a biomorphism that is characteristic of many of Locke’s works (see, for example. ‘The Pork Knocker Suite: Afro Leg’ or ‘Folded Seed with Clip,’ each of which are held by the Tate). This, coupled with the Afro wig placed atop the piece, allows it a representational qual ity that works with its abstraction. Moreover, this usage of materials creates a visual link between the artwork and the discourse around black subjectivity.
Giulia Smith of the Ruskin School of Art has noted that multiple of Locke’s artworks, in particular those of his earlier Plantation Series (1970s) with which the Timehri pieces engage refer to historical discourses around the creation of the black subject in dialogue (see her text in Life Between Islands: Caribbean British Art, 1950s-now ). Although the subject of Locke’s work was not confined to this singular topic, the construction of the Black subject in discourse and post/colonial history–against the backdrop of European identitie s–is the element most closely aligned with Drawing Attention. The placement of the Timehri pieces among artworks like Jessie Makinson’s study for And Other Darlings (2020), Jake Grewal’s series of shadowy figures placed in forest settings (2021) and Somaya Critchlow’s standout self-portrait Untitled (2020), further emphasised this ‘self and other’ aspect of Locke’s work.
When I began researching the Timehri works, I spoke to Anthony Shaw, whose collection they came from. Shaw expressed that he interprets Timehri Rock with Roots, #1 a triangular clay object that incorporates twigs and speckled black pigment in its composition–as a depiction of a ram’s head. Though various interpretations are possible, close observation of the artwork does allow one to see a n indentation at the furthest edge of the artwork which, coupled with sculpted lines amongst the painted elements, gives the impression of a face.
As seen in the image below, overhead viewing or circumspection of this piece reveals a swathe of thick, red paint on the back. If it is indeed a depiction of a non -human being, the work might also be understood as an image of violence exacted upon that being. Indeed, there may then be room to consider the work in symbolic terms. Given that the Timehri series engages with the earlier- mentioned Plantation Series, it is possible that this work refers to the dehumanization of enslaved people.
As Giulia Smith highlights in her paper for the Association for Art History’s Annual Conference in 2021, Locke used his Plantation Series partly to examine how the enslaved were consistently denied their humanity on plantations. Perhaps this particular ceramic piece from the Timehri series, appearing as a disembodied hea d, references this history and therefore the historically negative formulations of black subjectivity. Furthermore, in its disembodiment, this work might also be argued as illustrating notions of otherness, alienation, and exclusion.
Side view of Timehri Rock with Roots 1, 2009
Beside Timehri Rock with Roots, #1 sat a dish decorated with black paint in a similarly speckled fashion. In addition to the speckled paint, the dish included abstract motifs that could be likened to human figures. Although Locke seldom featured human figures in his work, the shapes of the se abstract motifs– rounded forms attached to elongated sections that resemble torsos, then finally semi-irregular, oblong shapes that are reminiscent of skirts–are suggestive of human beings.
In the text Bending the Grid: Modernity, Identity and the Verna cular in the Work of Donald Locke, Victor Davson notes that this imagery is repeated in the paintings Locke created as part of the Timehri series
Davson also notes that Locke often incorporated autobiographical details into his art. The imagery in these artworks, and Locke’s inclusion of the term ‘timehri’ in the title of the series, links the work to aspects of ancient Guyanese history–namely, Amerindian (indigenous Guyanese) art in the form of petroglyphs.
Claribel Cone and Barbara Cortwright highlight this in their 1980 article ‘Donald Locke,’ published by Artspace, Southwestern Contemporary Arts Quarterly. The work thus sits at the intersection betwee n history, culture, and identity.
Front view of Dish , 2009
Drawing Attention’s consideration of identity and inclusive histories through works like the Timehri pieces linked the exhibition to an ongoing trend in the museum world: exhibitions which act as postcolonial reckonings. The Royal Academy of Art’s recent exhibition, ‘Entangled Pasts, 1768Now,’ is a significant example of this. Featuring work by Locke’s son, Hew Locke –Armada (2021)– Entangled Pasts spoke to themes of postcolonial identity, and the interactions between the artworld and the Black subject over the past 300 years. Drawing Attention emphasised these themes through its employment of Locke’s works at centre stage.
Timehri and Guyanese Identity
As a final note, the Timehri pieces speak directly to the question of Guyanese identity. In his earlier mentioned text, Davson notes that when Guyana gained its independence from Britain in 1966, there was a nationwide search for what the true meaning of ‘Guyanese’ was. Beyond the changing of the country’s name from ‘British Guiana’ to ‘Guyana,’ the nation’s citizens needed a new way to define themselves. Thus, Locke created his ‘Timehri’ series, choosing for the title a word with Amerindian linguistic origins, and utilising imagery that Davson notes resembles petroglyphs. This may perhaps serve as further evidence for the figurative elements on the dish representing an aspect of Guyanese indigenous culture. Yet, the knowledge that Locke also would have grappled with the notion of postcolonial Afro-Guyanese identity– as suggested by his Plantation Series–underlines the question of how the work considers the cultures of enslaved Africans as well.
Locke’s choice of materials for these works serves as further emphasis on the subject of postcolonial Guyanese identity. The works evoke the notion of geographical ‘self’ through their usage of local organic matter –twigs and clay–, as well as through the innovative way in which Locke chose to mould each piece.
In the introduction to Out of Anarchy: Five Decades of Ceramics and Hybrid Sculptures, Locke wrote that his unique creative choices were made with an awareness of the conventional methods of sculpture, particularly within the ‘modernist’ institution of his time. However, to quote his writing in that introduction, ‘Conventional wisdom defined pottery as the making of vessels in clay. [But] in the historical past this was not so; one could make functional objects out of stone, wood, metal, leather, anything you could handle and manipulate’ (see Out of Anarchy, page 8). ” It is this latter perspective that Locke referenced in the Timehri pieces through his use of what Sherry Irvin refers to as ‘non -standard materials’ (see her article “Materials and Me aning in Contemporary Sculpture ).
Through his decision to use the clay medium in unconventional ways, Locke was able to give form to the uniqueness of Guyanese identity, and thus to visualise that self/other relationship between Guyana and Britain. Curator Isabel Seligman’s choice to incorporate these three pieces in Drawing Attention highlighted their messages and allowed them to speak boldly to the exhibition’s visitors about the theme of ‘self and other.’
About Danae Browne :
As an undergraduate in the United States, Browne studied global art history with a focus on Japan. Shortly afterwards, she moved to the UK to complete a Master’s in Religious Studies at Lancaster University.
Most recently, she studied at the University of York, and undertook a fellowship at the York Art Gallery, funded by the Friends of York Art Gallery. Browne’s work is motivated by a hope to find ways to increase our understandings of each other, our history, and our planet.
Book Review
The Figure in Clay
by Cristina Cordova.
A guide to capturing the human form for ceramic artists
The Figure in Clay by Cristina
Cordova
Published by Quarto Publishing Group 2022
ISBN 978-0-7603-7309-5
£25.99 UK. $35.00 US Visit Quarto.com
This is a very welcome book for anyone thinking of starting to work using the human figure. There are not many books out there which takes the beginner through the very important stages, and a major asset being the paper templates for each part of the body.
I would still encourage makers new to this medium to also join a studio where knowledge can be shared and the successes or failures during the process examined. There is a cost involved in the equipment needed and the use of a model, so a shared studio is always a good starting point.
So, what does the book cover? Firstly it looks at what a good studio should look like and the need for good health systems are employed. It moves on to basic construction techniques.
Book Review
It then moves on to assembling the parts of the body you have successfully made . It goes into some detail on how to use the paper patens for the parts of the head and hands, which must be the most demanding of the construction. Next comes surface development and firing.
Throughout the book there are very helpful examples of work by makers working today. Always very helpful. Many are not based in the UK as the book is an American publication. This does not detract from it in any way.
Another useful plus to this book is the size. Not too big so you get lost in it or have problems constantly referring to it. In all a very nice production.
The author Cristina Cordova is a contemporary artist and sculpting instructor whose work is collected around the world. Originally a native of Puerto Rico she completed her BA at the University of Puerto Rico and received a MFA from the New York State College of Ceramics at Alfred University.
She is featured in the permanent collection of the Smithsonian American Museum as well as in many other collections.
Chris and Michaela Goan at Seatree in Argyll, Scotland
‘Everything we make is influenced by our location’
They commented, “We work out of a garden studio at our home on the magnificent Cowal Peninsula in Argyll, Scotland. It is a stunning location, with mountains at our backs and the expanse of the mighty Clyde estuary visible through the gaps of old oak trees. We make hand built ceramic art works, always incorporating original poetry. A longside stoneware pots we also make large raku pieces. Seatree work is often deliberately emotive and seeks to explore human brokenness and spirituality”.
Everything they make is influenced by the location. The colour palette of their pots r eflects the we st of Scotland colour sche me, but much more than this, the work is an attempt to explore a connection to the wonderful but wo unded world in which we live. They do this through ceramic art that seeks to make these connections visible and tangible, sometimes through illustrations on stoneware pots or on framed pictures, or at other times through the rough and metallic surfaces of large raku vessels.
We regularly attend Potfest events plus Art in Clay, the Sheffield Ceramics Festival, Ceramics in Charnwood, and others.
They said, “We arrived at pottery via careers in social work and community work. Neither of us had any formal training in ceramics, although we have benefitted from being part of a community of other potters who have generously shared knowledge and experience as we grappled with the craft through much trial and error”.
After a period of ‘amateur’ potting they went full time eight years ago, at first with Michaela doing most of the actual ceramic work, and Chris contributing the words and surface decoration. Over the years their division of labour has changed considerably to the point where different creative tasks are more evenly shared.
We roll the clay into a thin slab and when dry enough, add the lettering. Then it dries for a while longer until it can be lifted into shape and joined and a base added. Then the lines are drawn into the clay. Once dry and fired, glaze and underglaze are added and it is fired again. This piece is about 25cm tall, 15cm wide.
Chris has written (and edited) a number of books of poetry and Seatree began when Michaela decided to set some poetry free from a book, inscribing words in clay slabs.
Slowly this has evolved into a range of hand built bowls, jugs, pictures and raku vessels. We invested in a slab roller (enforced by Michaela breaking her wrist) and this has been invaluable.
Michaela and Chris have very different approaches to making work, in that Michaela loves to ‘think with clay in her hands’, whereas Chris loves nothing more than a pre -existing idea that he has developed and explored.
They have a range of stoneware work that incorporates the words into art and functional ware - some areas are glazed, some left unglazed, whatever brings life to the words in the clay. Images are drawn in using a fine stick and detail picked out with underglaze. They also have a range called ‘seatree elemental’ which uses rough, heavily grogged clays to make organic forms, in which the poetry may become subsumed.
These pieces are all raku fired, with all the challenges of handling large vessels through the firing and reducing process.
http://www.facebook.com/seatreeargyll http://www.instagram.com/seatreeargyll http://www.seatreeargyll.com/
“The poem was written during our recent art residency on Fairisle. The line from the poem reads, 'we picked pebbles, thinking about democracy' - how we spent our time there, seeing the beauty in each tiny shell and pebble, while pondering on big world issues such as democracy, justice and climate change. The colours and lines hopefully reflect the beauty of that remote island, but the words and images could take you to your favourite place”.
If anyone wants to visit our pottery space, just give us a call!
Chris and Michaela Goan
News Item…
The Leach Pottery
in St Ives Cornwall
has secured £3.49m funding from the National Lottery Heritage Fund to support the development of the Leach Pottery. The funding brings exciting new job opportunities to become part of this oncein -a- lifetime programme.
It is currently undergoing a site -w ide transformation project: The Leach Pottery: the next 100 years. The £9.6m capital programme will invest in new learning and production studio facilities, repair and conserve the historic buildings, and reinterpret the site through new displays and exhibition spaces.
Now they can expand the provision for local communities and create more opportunities to engage in the unique story of this internationally renowned site.
Among the new roles on offer are :
• Two new coordinator roles within the learning programme.- Make with Leach which offers participants who would otherwise face barriers accessing the Leach Pottery ways of engaging with the pottery and ideas of the Leach Pottery.
• A Communications & Marketing Apprentice to support the Stakeholder Communications Manager in delivering communications and marketing on a day-today basis.
• A Volunteer Coordinator who will help to ensure that the Pottery evolves as a nurturing and exciting place for volunteers to be part of the team.
There are also three roles relating to the development of our the museum:
• An Interpretation Lead for the development and installation of new interpretation as part of a significant redevelopment of the Leach Pottery.
• An Interpretation Curator who will help develop the interpretation for the new museum displays.
• A Curatorial Assistant, to work with the Curator & Deputy Director and the Interpretation and Design teams to develop and deliver interpretive content.
• Gary Topp, chair of Leach Pottery’s trustees said: “We are excited to be undertaking a major transformational project at Leach Pottery and we are looking for some new colleagues to join the team and help us to deliver our ambitions. “To have received this support from The National Lottery Heritage Fund means we can develop the Leach Pottery for generations to come.”
News Item…
