Nic Collins
goldmark
Price £10
Nic Collins
goldmark 2017
Nic Collins It’s a compliment to be asked to write the opening piece for this exhibition. Unlike the previous essayists I am not a professional contemporary, nor am I a trained or accredited potter, but have instead the good fortune to regard Nic as a friend, a teacher and an inspiration by virtue of an acquaintance that has developed during the time I've spent being part of his kiln firing crew at Barn Pottery. I want to describe the impact of Nic’s work from a different perspective: that of the collector, the student and the co-worker, observing not just the man but his relationship with the kiln and the firing process, which some may consider to be the ‘end stage’ of their pot making but which is, for Nic, a creative collaboration with a well matched partner. Nic’s work has accurately been described as, ‘elegant, earthy and daringly executed’. Comparing the potting process to the alchemy of hermetic philosophy or the labours of the ancient Greeks and their gods have, sadly, become hackneyed clichés. Nevertheless, there is something undeniably awe inspiring about the skill of a man who can pick up a lump of clay and transform it into an object of usefulness, beauty and desire. Michael Cardew proposed that the work of potters falls into two groups: those obsessed with clay and those obsessed with flame. It can be clearly seen which group Nic falls into, although 3. Large Jar Natural ash glaze & shell scars
frontis: 10. Very Tall Jug Shino & natural ash glaze
85 x 62 cm
59 x 15 cm
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this is not to say that his work with clay is ‘less’ in any way. He approaches all aspects of life with the intention of having it on his terms and to his standards, and his standards are high. Nic chose to build, and continues to use, his own momentum wheel, facilitating even greater intimacy with the clay he has selected, mixed and prepared, guided by the vision of what he wants it to become. His drive hasn’t stoped there as he has gone on to build his own studio, his own home and his own kilns. There is little in use in this potter’s world that he hasn’t touched, made, developed or considered from the core of his being. When I first began kiln crewing for Nic I was already aware of and admired his work but had no knowledge of the subtleties of the processes culminating in each piece. I have been fortunate to be included in numerous subsequent firings and my comprehension has evolved from an instinctive appreciation of the resulting pot to an informed understanding that in itself is developing into an intuitive awareness of how, where and when the kiln can be coaxed or manipulated to create the effects that Nic craves. Nic is a master of placement, packing the kiln to optimise exposure to the interplay of flame, smoke and wood ash that characterises pots birthed through the long, slow wood firing. In this search of his vision he will sacrifice a pot to develop the effects of others to create colour, texture, depth and imperfections that serve only to enhance the individuality of their beauty. Then, after the firing and the cooling, the pots are returned by the kiln to be
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cleaned revealing their multiple blushes, shades and colours. In these ‘daringly executed’ firings it is possible to trace the path of the fire and flame on the pot, with other pots confirming the artistry of the placements. Nic’s hand in the fire shows where it has been deliberately blocked or diverted to develop colour and texture until the pots emerge with shadows, shapes, scars and spectres reflecting each pot onto each, some supporting, some separating, others integrating, but all breathtaking. I have sat beside the kiln for many nights, mesmerised by the fire and the flames, wryly reflecting on how little I knew on first joining the crew and the sense I had then of being quietly tested by Nic to gauge if I was afraid of the fire or able work with it, a test I am immensely proud to have seemed to have passed. I have since then learned how to walk the fire into the kiln so it warms gently until it is exactly where Nic visualises it should be, a seemingly simple procedure but in reality a process akin to stalking an untamed animal and knowing when to strike for optimum effect. I have learned to interpret the meaning hidden in the colour of the flames and the smoke that signals when, where and how to feed the fire from the hard won carefully built wood stack. And finally, I have thrilled with satisfaction at hearing the sound of the kiln breathe, the precursor to a mighty roar of flame bursting from the chimney as the heat intensifies, working its promise on the pots within. There is a change that these firings have wrought on me that goes deeper than learning the technical skills. Firing is addictive,
an all encompassing experience with a party atmosphere balancing an intense immersion in the life of the kiln. It has given me the gift of not just being able to see magic but to know how to take a breath, step back, and see even more. Nic is more than a friend. The patience and trust he has invested in me, teaching me these skills while nurturing my passion for pots is tremendous. It may seem whimsical to say he has treated me in the same way that he treats his pots - that alone would be an honour - but he has given even more. His pots are his livelihood; the success of his work has a direct effect on the life he is able to give his family, and to invest that level of trust in the motley group of people that regularly ask to crew for him shows the generosity of spirit that imbues this man’s commitment to living up to his own high standards and clear principles. The nature of craftsmanship, and pottery in particular, means that at some point you will get clay under your fingernails. As a collector you should feel the clay too, because you need to hold and touch a pot to know why you like it. But don’t stop there. Use all of your senses. Go to exhibitions, fairs and listen - to the clear ring of a whole and newly made pot, to the conversations around you, to the advice, opinions, recommendations and the laughter - and there is always laughter. Visit potteries and talk to the makers, the customers and those that have stopped by out of curiosity. Let your eyes roam over the shelves and displays, let your hands reach out to a pattern or texture that you just have to touch, smell the pots, soak up the atmosphere, respond to the pot that calls to
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you the loudest then savour the anticipation of arriving home with that pot, your pot. But collecting pottery isn’t only about acquiring grand or expensive, statement pieces. It’s also about having a coffee mug or a tea bowl in your cupboard, something you will use every day just because ‘it feels right’. And it will feel right as it was made by a hand for a hand. You’ll find yourself slowing down to enjoy that bowl of tea or mug of coffee for a little while longer, taking some time to relax, maybe to dream. You’ll laugh at yourself for thinking your drink tastes better, but you’ll be right, your drink does taste better; that’s part of the joy of a handcrafted pot. It won’t be long before you start thinking that maybe you would like to have a little plate or a bowl for your breakfast because it would be so much better to start the day with a pleasant experience rather than a frantic rush... and that is how you become a collector. You may never be able to remove that clay from under your fingernails again. Nic is an artist who embraces the unpredictability of the process, yet his output remains glorious and prodigious. The range and variety of forms that he creates, from the humble jug through bottles, vases, mugs, plates and bowls to huge platters and his trademark giant vessels, ensures there is something that appeals to and is accessible to everyone. I would encourage anyone, from the curious beginner to the seasoned connoisseur, to consider a Nic Collins pot as a worthy addition to their collection. Some may intuitively recognise the 170. Small Bottle Side stacked. Sea shells. Shino glaze. Ash 13 x 10 cm
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specialness of a pot that is the product of a lifetime’s work in progress, while for others it may be more of a gradual or acquired taste, but what is certain is that Nic’s pots are irresistible. The fusion of earth, air, water and fire combined, nurtured and guided into a form whose aesthetic appeal may well surpass its functional use, is a rare and awesome achievement. I never fail to experience a thrill of pleasure when contemplating Nic’s work.
Jon Cullum Friend, crew member & collector
20. Large Jar Feldspar inclusion. Shino glaze 33 x 32 cm
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15. Very Tall Bottle Natural ash glaze 97 x 19 cm
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4. Large Jar Natural ash glaze & shell scars 62 x 52 cm
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1. Big Dish Scallop impressions. Shino and various glazes. 4 x 102 cm
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11. Very Tall Jug Ash Glaze 63 x 15 cm
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65. Round Bottom Bowl Shino glaze. Feldspar inclusion. Natural ash 11 x 27 cm
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46. Large Bellarmine Type Bottle Side stacked. Shino glaze. Ash 45 x 33 cm
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17. Jar Meeth clay. Shino glaze. Side stacked. Ash 26 x 27 cm
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previous page:
73. Large Slab Bottle Shino glaze 41 x 28 cm
27. Large Textured Jar Shino & natural ash glaze 36 x 43 cm
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199. Small Jar Iron bearing clay. Ash 13 x 9 cm
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192. Small Bottle Iron bearing clay. Shino glaze. Ash 20 x 8 cm
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71. Small Slab Vase Bottle Shino glaze 26 x 8 cm
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80. Teapot Shino glaze 16 x 14 cm
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156. Chawan Meeth clay. Impressed leaf decoration 7 x 14 cm
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190. Small Bottle Shino glaze. Side stacked. Sea shells 15 x 10 cm
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A good pot is like a good story book. It’s recording four days of its journey, from clay to pot: all that turbulence, flame, the way it’s packed and fired. But you have to be able to read that story. And I’m beginning to break that code. Nic Collins
31. Large Round Jug Celadon glaze 36 x 25 cm
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45. Bellarmine Type Bottle Side stacked. Shino glaze. Ash 34 x 23 cm
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74. Large Slab Bottle Shino glaze 41 x 28 cm
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241. Jug White slip. Finger decoration 34 x 14 cm
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54. Wall Hanging Flower Vase Side stacked. Scallop shells. Shino & ash glaze 16 x 27 cm
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92. Vase Shino glaze 17 x 9 cm
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168. Large Dish Tumble stacked. Natural ash & Shino 10 x 54 cm
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Background Nic has now been using clay for over 30 years. His first encounters with woodfiring began because he had no other way to fire his work. In his late teens and early twenties he began building kilns and wheels and sourcing his own clay from the local river banks. He experimented with raku, sawdust firings and saltglazing. After teaching himself throwing, Nic went to study Studio Ceramics at Derby College of Art in 1985, and then worked briefly in potteries in Italy and Germany. In January 1988 Nic started his own workshop at Powdermills in the heart of Dartmoor. In 1991 he built a large Anagama kiln in which to fire garden pots and domestic wares. The only other of its type in the UK was used by fellow potter, neighbour and friend Svend Bayer. Since the early 90s Nic's pots have dramatically changed, mainly due to influence from effects of the kiln. Often, while side stoking the Anagama, pots would be knocked over into the fire box areas and be buried in ash and ember. In the early days these pots would be discarded as failures, but now this type of pot is Nic's goal. Nic builds several kilns a year to suit changing pot styles and firing ideas. The alchemy of wood firing is still fascinating to him with each firing bringing fresh ideas for new pots and new kilns. Nic now works and lives with his partner Sabine in a converted barn in Moretonhampstead at the edge of Dartmoor National Park. This monograph has been published to coincide with Nic’s 3rd major exhibition at Goldmark.
Recent Grants and Awards
Books
South West Arts for research into wet fired stoneware Grant awarded from the Craft Potters Association Peers Award, Art in Clay, Hatfield House, 2001 and 2004 Best potter in show, Krefeld 2002
Stoneware, Richard Dewar, A&C Black Ash Glazes, Phil Rogers, A&C Black Pots in the Kitchen, Josie Walter, Crowood Press 5 Devon Potters, Peter Davis,Chris Chapman, Jones & Palmer
Association CPA Fellow Member Full Member of Devon Guild of Craftsmen
Articles Earth and Fire, Ceramic Review, No. 165, May/June 1997 In Search of Space, Ceramics Monthly, September 2005
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Text: © Jon Cullum, 2017 Photographs: © Jay Goldmark Design: Porter/Goldmark ISBN 978-1-909167- 44-5 Goldmark Uppingham, Rutland, LE15 9SQ 01572 821424 goldmarkart.com July 2017
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