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NEWSLETTERWINTER 2010

www.anglianpotters.org.uk

IN THIS ISSUE:Potters' Camp

Bridget DrakefordCotswold Potteries

Haddenham Gallery

IN THIS ISSUE:Potters' Camp

Bridget DrakefordCotswold Potteries

Haddenham Gallery

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EDITOR’S NOTESThis issue is packed full of examplesof what membership of AnglianPotters is all about: rivetingdemonstration days, members'exhibitions, and, above all, potters'camp. With great difficulty, I havemade a selection from hundreds ofphotographs, which I hope will giveyou a flavour of the excitement andprolific productivity of this year'scamp!Add to this a poem, potter's tip andthe first part of an acount of visits toCotswold potters, and the result is, Ihope, a great read.The Christmas Show at All Saints'Church in Cambridge got off to afine start on 13th November. The

Cover: opening the 'train' kiln atpotters' camp, photograph byChris or Martin George

CHAIRMAN'S REPORTDAY EVENTS

We have had two excellent DayEvents this Autumn. BridgetDrakeford and Christine HesterSmith both gave interesting andInformative demonstrations. At thelast event twenty members turned upwithout booking. We are pleased tosee you all, but please let us be fairto Brenda Green and the cateringteam by booking. Members whodecide to come at the last minutecan still phone as late as Friday,thereby allowing Brenda to shop onthe Saturday.

HADDENHAM GALLERY

The Selected Members show atHaddenham Gallery looked good.The limited space was well used andthe work displayed to good effect,but the sales were modest.

ART, CRAFT & DESIGN SHOW,NEWMARKET

We were represented at Newmarketby a group stand on the groundfloor. Helen Humphreys and JulietGorman both had their own stands,putting on a wonderful display. Welldone all!.

BUSINESS CARDS

We are often asked for cards to

accompany purchases made atExhibitions. Clients like to includethese with presents or forthemselves. It is well worth providingthem and it also helps theinvigilators.

ICKWORH

I was sorry to miss the Ickworthweekend but I understand that allwent well.

ALL SAINTS', CAMBRIDGE

At the time of writing I am lookingforward to our open Exhibition at AllSaints’ Church, and hope to seemany of you there. If not I send youmy best wishes for Christmas andthe New Year.

show looks excellent, with new workfrom many first-time exhibitors, andsales were brisk all day. There willbe more from the show in the nextissue of the Newsletter.CarolynPhoto: making plates with MargaretGardiner at potters' camp

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CONTENTSPage 2 Chairman’s Report; Editor’s Notes; CommitteePage 3 Notices and future eventsPage 4 Bridget Drakeford at MundfordPage 7 Poem by Brenda GreenPage 8 Art in Clay 2010 at HatfieldPage 9 National Craft and Design Month; Potter’s Tip;

Ceramic HelplinePage 11 Newmarket Art, Craft and Design ShowPage 12 Selected Members at Haddenham Gallery;

A Handful of Potters at Saffron Walden MuseumPage 13 Book Review: Ai WeiweiPage 14 A Visit to Cotswold PotteriesPage 16 Potters’ Camp Part IIPage 19 Clay StoresPage 20 Equipment For Sale and Wanted

ANGLIAN POTTERS WINTER NEWSLETTER 2010

GOLD, LUSTREAND

ENAMELLINGWORKSHOP

with Helen Martinoat Cathy D’Arcy’s,near Mildenhall

on Saturday 26 March 2011(to be repeated on Sunday

if required)Details from Susan Cupitt

email:susan.cupitt@gmail.com

tel: 01223 311937

NOTE FROM THE

EXHIBITION ORGANISERSAs most of you will know by now, weused email to send out entry formsand information for the Novemberevent at All Saints in Cambridge.In future this will be our preferredmethod of communicating with themembership. Apart from cuttingdown the time spent stuffingenvelopes, it also cuts out the majorexpense of postage.Anyone who hasn’t given us anemail address, or whose email‘bounces back’, will be sent theinformation by post, but if you havenewly acquired one, or changed it,please do let us know.Send it to the MembershipSecretary :mary@24wyatt.freeserve.co.ukMany thanksJackie & Karrie

ANGLIAN POTTERS

WEBSITEWe plan to give the Anglian Potterswebsite a facelift and improve itscontent and topicality. Is thereanything you would like from thewebsite that it currently lacks?What do you think our prioritiesshould be?Please emailian.george@anglianpotters.org.uk

KILN GLASS FIRINGDo you have experience of this?Please contact Susan Cupittemail: susan.cupitt@gmail.comtel: 01223 311937

CPA/AP JOINT VISIT

TO RUTHANNE TUDBALLThe CPA has suggested that we jointhem in a visit to Ruthanne Tudball’sstudio on 5 March 2011

Cost: CPA and Anglian PottersMembers £15, non-members £17.50

Proposed Programme:11am-12.30pm - IntroductoryTalk and Kiln Viewing12.30pm-1.30pm - Lunch, eithersandwiches brought by theattendees and consumed at theworkshop, or Cafe Verde at thePoultec Enterprise Centre opposite,which will be open for hot or coldsnacks, sandwiches etc.1.30pm-4pm - WorkshopDemonstration to cover throwing,cutting, altering and assembling,turning and a discussion aboutglazing and soda firing.

At least 15 participants areneeded to make this viable, so ifyou are interested please contact:Joy Bosworth, email:info@joybosworthceramics.comor me, Felicity Hoyle, email:flicka.h@tesco.netPostal address: 95 Main Street,Hockwold, Norfolk, IP26 4LWFelicity Hoyle

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demonstration event. As instructed I have brought somesamples of my current work and with some hesitationput them on the display table.In the next hour after her introduction and to theaccompaniment of the shouts of the Sunday footballerson the field outside, Bridget throws two teapots with lidsand spouts, four large two-piece vases and a set of 3onion-shaped vases. She is using an unfamiliar wheeland a minimum of tools but seems perfectly at homehere, talking us through the process in her clear voicethat does not need the offered microphone.Someone else remarks, “You always learn something atthese events” and it’s true. So what did we learn? Wellwe learned some of the following:♦That 1975 was a great year to start out making and

selling pots when the craft was at a peak ofawareness in the public mind.

♦That Limoges porcelain is the best for not spirallingwhen thinly thrown on the wheel.

♦That you need to start reduction at 800 degrees forthe best copper red (and not get carbon trappingdespite that).

♦That in Japan she sells in the ‘Gallery St Ives’ Tokyo.♦That pots left outside in the wind or sun need turning

so that they don’t dry out too much on one side!♦That she is enjoying adding metalwork of variouskinds (silver, iron and gold-leaf) to her work.

What we did not learn was how to make such exquisiteshapes where the necks of the tall vases flowseamlessly into the main body, the lids of the teapotshave just the right scale and the set of onion-shapedvases are all of a piece, but we saw the end result. Asthe collection of work grew on the table, each piece hada grace, a fineness of line that just suited the varyingbulk of the work. That bulk derived from some exactweights of clay – 4lbs, 2lbs, 12oz, 8oz etc.I was impressed at the large turn-out from themembership and clearly saw the smooth organisationthat set out the room and operated in the very generouskitchen at the Village Hall to create a wonderful spreadfor lunch, unfortunately not enjoyed by myself as I hadbrought my own gluten-free sandwiches!As the afternoon starts it is clear that everyone has an

70 people, their eyes all keenly watching the centre of theroom, give a collective gasp as Bridget Drakefordconfidently lifts a large just-thrown jug off the wheel – onefirm movement and it’s safely on a batt on the table.“…That’s years of practice” whispers someone near tome.It’s my first visit to Mundford – well, to be accurate, myfirst visit to the village rather than just driving through onthe way to the coast – and my first Anglian Potters’

A SUNDAY IN SEPTEMBER – BRIDGET DRAKEFORD AT MUNDFORDH

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even greater interest in what she isgoing to do next – so she joins thepiece parts made earlier, fettling theseams with great fluency and addinglittle touches. Handles are pulled onthe pots even though they are still abit too wet and again these end upexactly the right size and shape tosuit the form – just a bit thinner onthe smaller jugs, and just a bit offsetto the right to counteract theuntwisting effect of the firing. Thenshe attacks some of the pieces witha loop tool, carving out chunks of ateapot and a matching version on itslid. A vase is divided into sixsections and scored deeply with awooden tool to make a totally new -looking shape.In response to a request, Bridgetnow shows how to make a boxshape in one throw by deeplyindenting a closed-top cylinder half-way down so that the two parts canbe separated. So obvious when yousee it done!Now to clear up and to reflect on theday. Am I better off currently notdoing thrown work? Would I just feeldepressed at such a consummatedemonstration of throwing skill orwould it have encouraged me(literally) to greater heights? I thinkthe latter, but I pack up my ownrather squarer examples and headhome thinking: “What a great way tospend a Sunday in September!”Ian Vance

Pieces by Ian Vance

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collared. Both pieces were left tofirm up before the final construction.It was a text book demonstration.My real interest though started whenthe wheel stopped and Bridgetstarted to embellish her pots withcarving, handles, knobs, dents andfluting. Her handles and knobs havelovely little twiddly bits which are notonly decorative but give additionalstrength to the handles. The dentsand fluting were applied without priormeasurement but with suchconfidence and precision it wasclear that Bridget really knew whatshe was doing. Her designs, carvedonto soft leather-hard pots, weremade with confidence and such asteady hand.The whole demonstration was a joyto watch and the day was enrichedby our usual wonderful lunch,masterminded this time by RobiBateman, an eleventh hour stand-infor our ever-faithful Brenda Green.Sally Macpherson

I am a left-handed hand builder.When I tried to learn to throw,wheels weren’t built to turn in bothdirections. I spent a year trying tocentre and throw a half decent potand all I managed to do was reducemy lump of clay to a thick slurry thatwas liberally plastered up the lengthof my arms and splattered all overmy lap. I could not understand whya wall of clay rapidly built up in thepalm of my hand. Call me thick, butit took a year for me to realise I wasfighting the clay, not working with it,because I had my hands positionedthe wrong way round. I finally learntto throw as a right-handed personand then they introduced wheelsthat turn in both directions and mypoor little brain went into meltdown.Now I sit at a wheel, look at myhands in puzzlement because I can’tremember how to position them, giveup and go back to hand building! Sowhen I was asked to report onBridget Drakeford’s talk anddemonstration I thought I would belike a fish out of water. But I couldn’thave got a better deal for my debutas a report writer.Bridget is what I would term a slow,wet thrower – a technique I couldrelate to. Too often our throwingdemonstrators slap a lump of clayon the wheel, wrap a dextrous fingeror two round the clay and, in theblink of an eye, have a 30cm potsitting on the wheel-head where thelump of clay had been. Their handsare dry with hardly a speck of clayadhering to them. Not so Bridget.She is a slow, careful thrower, whichmakes her a wonderfuldemonstrator. You can see quiteclearly each separate process as itbuilds to make her beautiful forms.She uses quite a lot of water and herhands are covered in slip when shehas finished (I can relate to that!).Presumably her technique derivesfrom her pottery training. She has nocollege training. She didn’t learnthrough an apprenticeship as aproduction potter. No, she started inher mid-teens with pottery classesat the local boys’ school (she onlywent along to check out the talent!).Later, when her son was small, shewas dragged along to local eveningclasses by a friend and that, as far I

could gather, was her training. Herthrowing technique is just like manyI had seen during my years atevening classes, slow, precise buthoned to perfection.Her forms are beautiful, withwonderful balance and shape. Youcan see the influence of theclassical shapes from which shetakes her inspiration. She said shelikes shapes that ‘fly up from anarrow base’; she demonstrated thiswith a quick swoop upwards withboth hands as she spoke. She alsolikes shapes with narrow necks; herlittle ‘onion’ pots are excellentexamples. Her elegant long-neckedtall pots are made in two parts, bellyand neck slotted together using aningeniously thrown interlocking jointwhich can be smoothed out or leftas a decorative feature.She demonstrated her throwing styleby producing several of her stockpieces. Her tall pot started with aweighed lump of clay centred withboth hands cupped around the clay.This is not a technique you oftensee; perhaps it would suit me. Shethen opened and pulled it into acone shape. A series of pulls andcollaring produced a 45cm straight-sided cylinder. The cylinder wasthen bellied out. Bridget took timeand care with this process as shedid with finishing the top so theflange of the separate neck would fitperfectly. The neck was made in thesame way but opened right down tothe wheel head and the cylinder was

MUSINGS OF A HAND BUILDER ON BRIDGET DRAKEFORD’S THROWING STYLE

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Pots drying in thesunshine

Lunch break

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A VOICE FROM THE

PAST!It was lovely to be back with all ourfriends at EAPA (OK, so it’s now AP,but I am conservative, with a small‘c’, and I don’t easily change!) and tosee so many familiar faces at theexcellent demo by BridgetDrakeford. It’s ridiculous that we’venot been for so long, when we retired(again) in 2007, closed our shop,disposed of all the Workshopequipment and sold the property...But when you stay in the sameplace (and if you’re happy there andhave good friends, why move?), youjust seem to add to your activities,most recently the Good Neighboursand the Community Speedwatch, toname but two.We moved from a 500-year oldhouse (Grade II listed, where nothingwas flat, nothing square, the wallshad zebra stripes and the doorwayswere mostly “Duck or Grouse”!),down-sizing via a rented “dolls’house” for eight months whileworkmen altered “Short Circuit”, amere 25 years old house in the nextroad, twice as warm for half themoney - and we added photo-voltaiccells to the roof, to generateelectricity (we haven’t discovered yethow to generate gas!). Thegrandchildren also engage us, whichis a pleasure, and we’ve gained afurther two since 2007, now totallingeleven, scattered over England andScotland, which was one reason forretiring.I missed friend Brenda in thekitchen, but Roberta looked after uswith great charm and efficiency(grazie!) and the selection of foodswas as interesting and tasty as ever.The best innovation was thecamcorder, working as a videocam,so we could all see Bridget at thewheel without having to stand in arow along the wall. Bravo to whoeverhad the idea and whoeverimplements it.May Anglian Potters continue tothrive, even in these stringent times!Sue Kistruck(lately of The Posting House Pottery,Long Melford)

AFTER THE ANGLIAN

POTTER’S EXHIBITIONClay.Dense, geological layer,Water held in its sticky wetness.Sometimes pure, butOften interspersed with other debris.Clay.Dug, washed, sieved,Refined for use.In dry state, hard,Yet breakable, dusty.Clay.In its damp formMalleable, fusible.Rolled, squeezed, pinched,Manipulated by human hand.Clay.Transformed to a new stateForming utensils, vessels, platters,Sculpted into figures, orAbstract yet aesthetic forms.Clay.Rough to touchWhen unglazed, raw.Sometimes burnished to a sheen.Heated, chemically changed, vitreous.Clay.No longer malleable,But stone-like, china, fragile.Glazed, decorated, coloured.Surfaces marked, impressed.Clay.In myriad forms and shapes,From finest translucencyThrough practical, robust.All made amazingly fromClay!

Brenda Green

BRIDGET’S GLAZE RECIPESfired to Orton cone 8Copper RedNepheline Syenite 36Whiting 9Barium Carbonate 9High Alkaline Frit 9 (Potclays)Talc 4Silica (flint) 28Kaolin (china clay) 5Copper Carbonate 0.5Tin Oxide 4Celadon (Chun type)Potash feldspar 45Quartz (flint) 25Whiting 17China Clay 9Dolomite 2Bone Ash 2Red iron oxide 1.5Green Crackle (oxidised)Nepheline Syenite 50Whiting 3.5Dolomite 23China Clay 25Copper Carbonate 1.5Yellow (oxidised)Felspar 64Dolomite 13Whiting 13Chine Clay 12Yellow glaze stain 12(mix of high temp. yellow & maize)Good base glaze for other colourstains or oxides

Detail from work by Alan Foxley

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though they were made of torn paper orfiligree lace, and one or two, such as DanStafford, were showing precise, geometricabstract constructions that, at firstappearance, seemed as though they hadbeen cast in resin or plastic. I wonder ifthe heavy representation of universitydegree programmes was responsible forthis? Clay is the most versatile ofmediums, of course, but I did find myselfyearning, after a while, for some good,honest pots, and work which allowed theclay to really ‘sing’.Fortunately, (for my tastes, at least),there was plenty to satisfy; from PatSouthward’s beautiful wood-fired vesselsand Yo Thom’s fusion of British andJapanese traditions, to Elaine Peto’swonderful wildlife sculptures and JeremyJames’ inventively stylised hares. In fact,I was just in time to sneak in the back of

Every year, I look forward to Art in Clay with greatexcitement, knowing that there will always be somethingnew to see, learn – and, possibly, acquire. This year, I amdelighted to report that, having resisted the temptation tobuy yet more tools and gadgets, I had morein the kitty for some actual ceramics andam now the proud owner of a beautiful‘Poetry Tile’, from Iris Milward’s stand.Iris works in the traditional way of Medievaltile makers, inlaying her delicate designswith coloured slip and then glazing with acrackle glaze, which gives them apleasingly aged appearance. Combining theskill of a calligrapher with the eye of anartist, she creates animal designs whichincorporate poems, mottos, and quotesfrom famous authors. Mine is in the shapeof a hare and has some lines from Jungincised into it: “Who looks outside,dreams. Who looks inside, sees”. I shallhang it in my studio in hope that it willinspire me!I always like to spot the latest trends atHatfield and, this year, there seemed to bea strong bias towards pretending clay is notclay: I noticed several ceramicists hadconstructed sculptures that looked as

ART IN CLAY HATFIELD 2010

the tent for Jeremy’s demonstration and talk about his work. It wasinspirational to hear about his devotion to his subject – he recently spent twoweeks alone on an isolated bird sanctuary off the Suffolk Coast in order tosketch the wildlife – and also his affection for the East Anglian countryside,even though he is a Derbyshire man!Wall hangings and murals seemed to be popular, with Anne and PhilipPlant’s work being amongst the most colourful examples. Making work thatcan be hung seems like a smart move as there must be many people whohave run out of shelf space but who cannot resist buying more ceramics.Several potters I spoke to said they were having a busy weekend, withFriday being particularly good for sales. As I passed the Foxleys’ stand,Alan was busy wrapping a piece for a happy customer, and most tables hada small crowd gathered around them. So, despite the weather – which waschangeable, to say the least – my impression was of a good turnout by thepublic. I missed seeing a few familiar faces among the exhibitors (no JohnBarratt-Danes or Paul Smith this year), but the standard and variety were asgood as ever. Roll on next year!Words and Pictures: Christine Pike

Elaine Peto

Dan Stafford

Jeremy James

Anne & Philip Plant

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POTTER’S TIP: ACCURATE CLAY SHRINKAGE MEASURE1. Roll out a slab of clay and cut to the size of a 12" ruler.2. Press into this a ruler with raised markings

(WH Smith ‘Helix Ultra Flex’ £2.99).3. Fire to the required temperature.To make a 6" pot, for example:1. Place the clay ruler against the plastic ruler.2. Read 6" on the plastic ruler.3. Look at the corresponding mark on the clay ruler (e.g. 7").4. Make the pot to this size.5. When fired, the pot will be exactly 6".

The clay ruler is ideal for making accurate replacementlids, etc.

Reta Vince

We have moved! New shop now open in Burton Latimer, near Kettering, Northants.Potters’ supplies, kiln and equipment sales, servicing and repairs.Clays by Potclays and Valentines. Enamelling kilns and equipment.

Gallery of ceramic and glass artworks by local artists – ideal for a unique and unusual gift.

56 High Street, Burton Latimer, Kettering, Northants NN15 5LB

Contact us for more details and opening timestel: 01536 726361 or email: info@corbykilns.co.uk

www.corbykilns.co.uk

It may seem a long way off, but seta date in your diaries for May 2011 –it has been designated “Craft andDesign Month”, and the first weekwill be devoted to ceramics.Crafts are enjoying something of arenaissance at the moment, withunprecedented media coverage ontelevision and in newspapers andmagazines – everyone is discoveringcrafts! So what better way and whatbetter time to enhance the growingawareness and appreciation of finecraft and design than through Craftand Design Month?Craft and Design magazine iscommitted to promoting a nationalcrafts month and is proposing thatthe first week of May should beNational Ceramics Week. Anyonewho wants to can be involved bysimply doing something during thatweek to raise public awareness of

NATIONAL CRAFT AND DESIGN MONTHstudio ceramics – by taking part inopen studios, exhibitions,demonstrations, etc.Perhaps you could approach anygalleries you are involved with andencourage them to stage a ceramicsexhibition, or you might talk to yourlocal school or college about settingup some workshops.Please pass on the information to allyour potting friends to spread theword as widely as possible. Ifenough people want it to happen itwill, but it will only work if everyoneknows about it and as many aspossible commit to doingsomething, however small.Craft and Design magazine has puta link on their website:www.craftanddesign.netor you can call Paul and AngieBoyer on: 01377 255213 for moreinformation.

CERAMIC HELPLINEMembers to contact:Alan Foxley: handbuilding, reductionfiring 01799 522631Colin Saunders: mould-making,slipware, transfers 01379 588278Victor Knibbs: oxidised stoneware,electric kilns, modifying clay bodies

01480 214741Deborah Baynes: raku, stoneware,earthenware (reduction & oxidised),salt glaze 01473 788300Beryl Hines: general, earthenware,raku

01473 735437Usch Spettigue: raw glazing/singlefiring 01473 787587Margaret Gardiner: salt glaze

01279 654025Sonia Lewis: high-fired ware, porcelain

01353 688316Angela Mellor: bone china paperclayand slipcasting 01353 666675

If you are willing to give advice, and beadded to this list, please contact theEditor.

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Kilns for ceramics

New and second-hand equipment

Kilns and furnaces serviced and repaired

Potters wheels – pugmills

Essex Kilns LtdTel 01621 869342

email sales@essexkilns.co.ukwww.essexkilns.co.uk

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Once again, Anglian Potters were well represented atthe Newmarket show in November. Seven of us joinedforces under the AP banner and Juliet Gorman andHelen Humphreys took individual stands in their ownright.Thanks to the tireless efforts of Rosella Schembri, wehad a much better location than last year – this time wewere on the ground floor and there was no excuse forthe general public to miss our stand! As a result, salesand general interest were good. I am delighted to saythat Juliet and Helen also reported excellent sales.Although each potter’s work was highly individual, therewas a pleasing uniformity of display and our standlooked eye-catching and professional. Sally Macphersonhad pulled out the stops to get our new membershipleaflets printed in time and it was good to see so manypeople walking around the show with one clutched intheir hand.There are many advantages to exhibiting as a group: forone thing, it is considerably cheaper to pool resourcesthan to pay for an individual stand. There is also safetyin numbers! A three-day show can be quite arduous soit is reassuring to be able to call upon fellow potters to

cover your stand when you need to take a break, ordesperately crave a coffee (thanks JJ!).Another important consideration is the handling of sales– these days, most people expect to be able to pay bycredit card, so it was a great boon to be able to use theAnglian Potters’ merchant facility. Anja Penger andErika Dennison were wonderfully efficient in making surethat all card sales were accounted for and that theprecious machine was fully charged overnight!The Newmarket show is a prestigious, large-scale eventwith a loyal customer base. The standards are high andpeople come expecting to see the very best incontemporary craft and design. They are also veryappreciative of ceramics, in particular. Anglian Potterswill definitely be exhibiting again next year and we arelooking for between six and nine potters to complete theline-up. If you feel that your work is of a good standardand you would relish the opportunity to show it to awider audience, please contact Anja Penger for moredetails: email: anja.penger@gmx.de, tel: 01767 641435Words: Christine Pike. Pictures: Anja Penger

NEWMARKET ART, CRAFT & DESIGN SHOW

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This year’s Selected Members exhibition atthe Haddenham Galleries ran from 9October until 10 November. 16 SelectedMembers showed their work in the galleryspace.The display area was very well lit (I visitedon a sunny morning) and the arrangementwas sympathetic to each potter’s work. Abig “thank you” goes to the very helpful staffof the gallery, especially Melinda.Anya Pengerwww.haddenhamgallery.co.uk

SELECTED MEMBERS AT HADDENHAM

A HANDFUL OF POTTERS IN SAFFRON WALDENA selection of Alan Foxley’s photographs from the recent exhibition atSaffron Walden Museum. It was quite successful – over twenty items weresold, six of which were bought by the museum, and there was some verygood feedback from visitors.

Pat Armstrong

Katherine Winfrey

Ray Auker

Colin Saunders

Tony Pugh

Juliet Gorman

Alan FoxleyJeremy Nichols

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BOOK REVIEW: MEMBERS' WEBSITES:www.angelamellor.comwww.brendagreenart.co.ukwww.broadwayceramics.comwww.cathydarcy.comwww.ceramicsbuyanja.co.ukwww.corbykilns.co.ukwww.chrisrumsey.co.ukwww.heathergrahampotter.comwww.helenhpottery.co.ukwww.helenmartino.co.ukwww.iangeorgeceramics.co.ukwww.ingridhunter.comwww.janburridge.co.ukwww.janehollidge.co.ukwww.jjvincent.comwww.johnmasterton.co.ukwww.judsonsinfrance.comwww.katharina.klug-art.comwww.madeincley.co.ukwww.maggygardiner.comwww.mariamcullumceramics.co.ukwww.matthewblakely.co.ukwww.patsouthwood.co.ukwww.potterycourses.comwww.potterycourses.netwww.richardbaxter.co.ukwww.roceramics.co.ukwww.rockwellpottery.comwww.rowanhumberstone.co.ukwww.sculpturelounge.comwww.secretceramics.co.ukwww.susancupitt.co.ukwww.suffolkstoneware.co.ukwww.woodnewtonpottery.co.uk

Contact the Editor if you want toadd your site to this list.

www.anglianpotters.org.uk

Feng Boyi at Shanghai in 2000. Hismost famous architecturalcontribution in recent years was theBeijing National Stadium,affectionately known as the ‘Bird’sNest’, for the 2008 SummerOlympics; in the same year heinstigated an investigation intocorruption associated with theSichuan earthquake, which causedthe loss of life to 5,385 (known) childstudents. Ai’s method of protest wasto build a wall on the façade of theHaus der Kunst, Munich, using9,000 coloured back-packs, as usedby the children; spelling out inChinese characters “She livedhappily for seven years in thisworld”, as quoted by the mother of avictim. In attempting to testify for afellow investigator, ‘of shoddyconstruction and studentcasualties’, Ai was severely beatenby Chengdu police, causing acerebral haemorrhage, as diagnosedby medical staff at Munich, in 2009.The Director of Tate Modern,Vincenti Todoli, recently said, “AsTate continues to widen itsrepresentation of art from all parts ofthe globe, we are delighted to becommissioning one of China’sgreatest living artists for the UnileverSeries…”. As in previous years, thetheme and content of the exhibitionis not disclosed until the openingday.Ai Weiwei has created SunflowerSeeds for the exhibition. All onehundred million replica seeds arehand-made and painted porcelainworks of art, taking 1,600ceramicists two years of dedicatedwork to achieve. The floor of theTurbine Hall is covered to a depth ofapproximately 10cm and visitors areencourage to walk, roll or just sitamongst the seeds and reflect uponthe downtrodden individuals andvastness of the masses which each

seed represents. The Exhibitioncontinues until 25 April 2011.I recommend this book to allprogressive artists.Rodney HuntImages © Prestel Verlag, MunichEditor’s note: In October, Tate Modernstopped allowing visitors to walk onthe sunflower seeds, for fear of theminhaling porcelain dust. In November,Ai Weiwei was briefly put under housearrest in China, pending demolition ofhis new workshop in Shanghai.

AI WEIWEIBy Mark Siemons and AiWeiwei. £17-99p. Publishedby Prestel 2009Don’t be put off by the‘picture-board’ cover of thisslim volume of 117 pages onChina’s most progressivepolitical artist, for thecontent is comprehensive and wellillustrated.Ai, (the family name) was born in1957; his father, the Chinese poet AiQing, suffered during the CulturalRevolution, and was interned at alabour camp in Xinjiang for fiveyears, with his wife and son. Thisundoubtedly influenced Ai Weiwei asa social commentator and activist,and led to his formation, with a fewlike-minded friends, of an avantgarde art group ‘Stars’. He studied atthe Beijing Film Academy beforemoving in 1981 to New York, wherehe predominately exhibited‘conceptual art’ created by alteringready-made objects. He returned toChina in1993, due to the ill health ofhis father.Apart from his conceptual andinstallation art that has been givenprominence internationally, he isalso recognised as a fine ceramicist.His seminal work (illustrated on thecover of the book) Dropping a HanDynasty Urn, questions culturalvalues and social history, togetherwith the cyclical use of materials.Ai helped to establish East Village,Beijing, for experimental artists andpublished books associated with themovement, leading to a majorexhibition ‘Fuck Off’ with co-curator

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African grey parrot we found our wayinto his studio and showroom. Theshowroom was exceptionally good,a fitting background to his stunningsalt glazed pots. The pots aredisplayed on dressers and tablesgiving a real feel for how they wouldlook when in use. Toff came out ofhis studio and welcomed us and toldus to look in the drawers andcupboard of the dressers. A goodploy – it was like a treasure hunt!After promising ourselves faithfullythat we would buy no more pots wefound ourselves discovering littlegems which we covetously stashedaway in a small group of things wewanted! We then went into theworkshop where Toff was finishing offsome rectangular bakers. We had along talk with Toff, discussing potsand potters and felt very welcome inhis studio.Heather adds: What a contrast!Toff’s personality was very much inevidence wherever one looked. Theworkshop was bursting with ongoingwork, the showroom overflowing withbeautiful pots and the garden wasimmaculate. Even the parrot was anextrovert. What the two potteries hadin common was the quality of thework. Every single one of thehundreds of pots we saw here wasfinished to perfection with the sort ofattention to detail that many of usonly lavish on ‘exhibition pieces.(To be continued in the SpringNewsletter)Words and pictures: Felicity Hoyle &Heather Graham

showroom (and bought some pots)then she invited us to see herpersonal collection of pottery, whichwas impressive, as was her house,which she and her husband hadrebuilt from a derelict building into arather magnificently panelled home.We were also offered tea and cakeand had a very enjoyable discussionabout pots and potters.The next day we visitedWinchcombe Pottery. Here only theshowroom was available to visit. Thepots were elegantly simple in thetraditional studio style and findingthe prices very affordable we boughtyet more pots. A young Americanserved us (and seemed completelyconfused by the idea of a cheque)he was living in a tent in the gardenand working in the pottery to gainexperience. We gathered that hewas working his way around variouspotteries in this manner, althoughwhen Heather suggested that he’deventually have his own studio hedid look rather alarmed at thethought.Heather adds: I was struck by thedown-to-earth honesty of the pots.The forms were simple andclassically beautiful and thedecoration modest. There was noevidence of ego – the pots were thestars, not the potter. This is amodern version of the countrypottery that would once have beenfound all over the country. I too wasimpressed by the affordability of theprices.The next potter on the list was ToffMilway. Parking the motor homewas a bit of an experience but soondone and after passing a lively West

This summer, at potters’ camp, Imentioned to Heather Graham thatone day I wanted to use my motorhome to visit Toff Milway’s studio.This developed into a plan for a fourday trip to the Cotswolds to visitsome of the potteries there.Heather adds: This was my first evervisit to the Cotswolds and I foundthe countryside delightful. Mysatnav, however, suffered a mentalbreakdown. Being used to the flatlands of Norfolk, it was thrown intoutter confusion by the hills. Itshowed us driving through road-freewastes paralleling some elusiveroadway. Luckily we had an old-fashioned map book to fall back on.We found a small caravan site atGreat Wolford not too far from bothToff Milway and WinchcombePottery, the two main places weintended to visit. While I wasbooking the site I mentioned that wewere coming to the Cotswolds tolook at some pottery studios and thesite owner said she had a friend whowas a potter called Liz Teall and shewould give us directions to herstudio. On the way to the site wehad passed several sign advertisingWichford Pottery and Hook NortonPottery so we added them to our listof places to visit.The first pottery we visited was LizTeall. We got a very friendlywelcome and were shown aroundher studio. She works inearthenware clay and paints sliponto her pots, presses leaves intothe slip and then paints othercoloured slip lightly over the whole,leaving her pots with a livelydecoration. We admired her

A VISIT TO SOME COTSWOLD POTTERIES

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Opposite page top: camping in theCotswolds. Opposite page bottom:in Liz Teall’s garden. Above and left:Winchcombe Pottery showroom andpots. Below: Toff Milway’sshowroom, studio and pots.

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POTTERS’ CAMP 2010 - PART II

raku

Roman kiln

‘train’ kiln

Snapshots from this year’s camp,showing some of the many differentactivities on offer. Photographscontributed by Roberta Bateman,Chris George, Martin George,Linda Luckin, Sally Macpherson,Anya Penger, Rosella Schembri,Lois Thirkettle, Reta Vince,Pauline Wright and Andrea Young.

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metal casting

dustbin firing

Colin Saunders

Ray Auker

workshops

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Brick House Crafts operate from 5,000sq ft premises in Essex. They are pleasedto confirm the continuation of their 10%discount scheme to members of AnglianPotters on raw materials, clays (up to 1/2t) and hand tools. Lessons available onan hourly basis together with City &Guilds Level 2 & 3 courses (100% passrate to date). Contact Mary or MaureenTel: 01376 585655

www.brickhouseceramics.co.uk

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DIARY DATES 2011:Richard Godfrey:6 February, Mundfordwww.richardgodfreyceramics.co.ukMark Griffiths:27 March, Mundfordwww.markgriffithspottery.co.uk/AGM:22 May, MundfordPotters' Camp:27-31 July, ShotleySummer Show:16-31 AugustEmmanuel CollegeLisa Hammond:11 Septemberwww.lisahammond-pottery.co.ukOstinelli and Priest:23 Octoberwww.ostinellipriest.co.uk

MEMBERSHIP FEES:Ordinary £27 (half year £15)Joint £45 for two people at the sameaddress – half year £25Institution £50 for a college or workshop– half year £27(details on application to the MembershipSecretary)Student £10 for full-timestudents of ceramics – proof ofstatus is required

ADVERTISING RATESPrice per issue, 4 issues a yearFull page w 18cm x h 26.8cm £60.00Half page w 18cm x h 13.4cm £30.00Third page w 18cm x h 8.8cm £20.002 column w 11.8cm x h 17.6cm £26.002 column w 11.8cm x h 8.8cm £13.001 column w 5.7cm x h 17.6cm £13.001 column w 5.7cm x h 8.8cm £6.50Leaflet inserts (330) £30.00Copy dates:Spring Issue 1 FebruarySummer Issue 1 MayAutumn Issue 1 AugustWinter Issue 1 NovemberCopy to be supplied as .jpg, .tif, .pdfAdvertisements can be designed if textand pictures (minimum 300dpi) areprovided. Printed in full colour.Contact Carolyn Postgate, Editore: carolyn@clara.co.ukt: 01954 211033

COPY DATE FOR THE

SPRING NEWSLETTER:1 FEBRUARY 2011FOR PUBLICATION BY:1 MARCH 2011

RAKU KILN FOR SALERAKU KILN FOR SALERAKU KILN FOR SALERAKU KILN FOR SALERAKU KILN FOR SALE£140£140£140£140£140

This kiln was made at Jerry's kilnbuilding day (see page 8 in

Summer Newsletter)The price also includes:- kiln shelf,props, gas burner, gas regulator,

leather gauntlets and tongs.

All items are UNUSED

WANTEDWANTEDWANTEDWANTEDWANTEDSpray Equipment: gun and

compressorContact Reta on 01760 337373

FOR SALERatcliffe electric wheel,£300.Spray booth on stand£100Podmore kick/momentumwheel, with seat and steelframe, £100

Contact Tel Turnbulltel.turnbull49@gmail.com

WANTED FOR

POTTERS' CAMPWe hope to install new showers andtoilets in time for next year's camp.We need 2 shower bases and 2toilets: if you are having yoursreplaced, and think that the old onescan be removed intact, contactJerry Finlayson 01473 788423.

FREE TO A GOODHOMECromarty Kiln 6 cu ftNew elements, brickwork in goodcondition. Needs some wiring and isan old-fashioned, very heavy, toploader. Contact Jerry Finlayson01473 788423

WANT TO BE A STUDENTHELPER AT ABERYSTWYTH

1-3 JULY 2011?WANT to be part of theInternational Ceramics Festival2011?WANT to assist some of theworld’s best Potters?WANT to mix with well-known artsprofessionals?Entrance to the festival is free forstudent helpers. Studentaccommodation is provided freeand a small payment is madetowards expenses. For more detailand Student Application Forms visit:www.internationalceramicsfestival.org/helpers.htmThe deadline for applications is 1March 2011. If you have anyqueries please contact SophieBennettemail: sob@aber.ac.uktel: 01970 622338

CERAMIC MENTORINGThe Ceramic Mentoring Projectstarted in Scotland in spring thisyear. It has supported a number ofpotters, both professional andhobby potters, to be more efficient,develop new work and earn moremoney. I work over the phonebringing together my lifetimeexperience as a potter with skills incoaching and mentoring. Themesthat Ceramic Mentoring can helpwith:

• lack of focus & direction• lack of confidence• goal setting• planning - short and long term• connecting to your creativity

and inspirationFor further information go to:www.ceramicmentoring.com or callme on 01392 671799

LEACH KICKWHEELSlooking for a good homeIt seems only a short while ago thatthe closure of the Harrow coursewas confirmed, but they are alreadyonto their last lap and beginning todispose of materials and equipment.Needless to say all that brand newstuff they had bought following thefire has long since been allocated,but there are three Leach typekickwheels that Tony Moody, theHead Technician, is trying to findgood homes for. They are, Iunderstand, in the kind of conditionthat you might expect from manygenerations of student use, butnothing that can’t be fixed with alittle tender loving care. They areavailable, preferably in exchange fora small donation, by contacting Tonyat t.moody@westminster.ac.uk Don’tmiss out on the opportunity to own asmall piece of ceramic history!Jeremy Nichols