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www.anglianpotters.org.uk

Newsletter

AutumN 2013

In this issue:Katherine WinfreyBeginnings...Journey to the North Craft Potters in NigeriaCity & Guilds, Fired Works & Dolby Gallery

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ChAirmAN’s report

Jim mANgAN

It is with great sadness that I report the death of Jim Mangan. Jim was a longstanding member who supported the Association with enthusiasm and kindness. Many of his AP friends were at his funeral at the end of May. Our condolences to his widow Pat and their two daughters.

Agm 2013The AGM was very well supported and I thank all who attended. The business was completed without any dissention, with many of the Committee re-elected.Viv Burns was ratified as Membership Secretary, taking over from Mary Wyatt, who was thanked for her service. Nobody could be found willing to be Exhibitions Secretary, but Katharina Klug and Ian Vance offered to assist Jackie Watson. It was agreed to employ Plexus Media to provide a new website, and that John Masterton would steer us through the transition period.

Dolby gAllery, ouNDle

The Selected Members show at the Dolby Gallery looked good at the Private View. Simon Dolby was pleased with the variety and quality of the submissions. Thanks go to Anja for organizing this event for us.

KAtheriNe wiNfrey

Katherine put on a wonderful demo for us following the AGM – another example of what wonderful talent we have among our membership. Thank you, Katherine, for demonstrating and entertaining us so well.

tim ANDrews gAllery

While holidaying in Devon, Jannie and I visited Tim Andrews at his studio and Gallery. Tim has a lovely set up and his Maureen Minchin exhibition had just ended, though we were still able to see most of her work. Maureen was a former Anglian Potters Selected Member, but now lives and works in Scotland. Her work was wonderful and Tim was pleased that the whole show had been a sell-out!!!Victor

Cover: John Masterton’s stand at Art in Clay, Hatfield, in July Photo: Carolyn Postgate

eDitor’s NotesOnce again, I am very grateful to so many members for sending in interesting articles and photographs for this Newsletter: this time we have several new contributors – I’ll expect lots more news and views from other members for future issues!

In this issue we have part three of the Nigerian adventures of Joy Voisey – it was nice to read of Tony Ogogo, who I remember well when he was an AP member some years ago, now. We also have reports from members from shows around the country that they have taken part in, either as individuals or as part of the AP organisation. Don’t forget that I am planning to step down as Newsletter Editor next year, so if any of you have experience of publishing and would like to give it a go, do please contact me and I would be happy to tell you what’s involved. It is a really enjoyable job – nothing quite beats the satisfaction of seeing the finished Newsletter ready for posting out to members!Carolyn

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Page � Chairman’s Report|Editor’s Notes|CommitteePage � Jim Mangan Remembered|NoticesPage 4 Katherine Winfrey at the AGM in MundfordPage 7 Annual General MeetingPage 9 Journey to the North Page �0 Beginnings...Page �� Craft Potters in NigeriaPage �� Members’ WebsitesPage �4 Anglian Potters at Fired Works �0��Page �5 Selected Members at the Dolby GalleryPage 16 Art in Clay, HatfieldPage �7 AP Clay StoresPage �9 City & Guilds at Brick House CraftsPage �0 News from MembersPage �� Ceramic Helpline|For SalePage �� Clay: Our Magic Material|Members’ Shows|Art UnequalledPage �4 Diary Dates|Membership Fees|Advertising Rates

CoNteNts

ANgliAN potters Newsletter summer 2013

Katherine Winfrey

Jim Mangan, who has died at the age of 9�, was known to many Anglian Potters for his loyal and enthusiastic support. I first got to know Jim and Pat when I delivered my pots to them, for forwarding on to AP Exhibitions at the Central Library, Lion Yard, Cambridge. We were always welcomed and treated to tea, cakes and kindness.Jim was a stalwart helper with our exhibitions over many years: a member of the loading gang at the store, at the setting up and as an invigilator. He was also a regular in the team that met to calculate and issue the cheques to members following the exhibitions.Jim earned recognition for his distinctive slab-built raku clocks, that always sold so well at our shows. I never did get him to divulge the recipe for his lovely orange glaze! He will be sadly missed by many of us older members who remember him with much fondness.Victor Knibbs

wArNiNg – eNtries for All sAiNts’ ChristmAs showThe call for entries for All Saints’ should hit your email and post boxes around the third week in September. If you haven’t received anything by �� September, please let me know.Jackie Watson

NotiCes ADopt-A-potterJust to let you know that we raised £�0� from the raffle and £25 on T-shirts for the Adopt-a-Potter trust at the AGM meeting at Mundford in May. Lisa Hammond sent her thanks for our efforts. I might try something at Camp – maybe I’ll raffle a bottle of Champagne for Adopt-a-Potter!Marie Thompson

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KAtheriNe wiNfrey At the Agm iN muNDforDSunday, �9th May, �0��.I own a tall, blue, salt glazed jug made by Mick Casson. It has a ‘combed’ decoration from top to bottom on either side and was produced by Mick deftly running his fingers downwards through the slip glaze, using his wrist to produce a slight lateral movement on their way down the pot. The technique is very simple and extremely effective. When I throw a ‘run’ of pots, I apply a small amount of water from my wheel tray to the ware board and spread it across the board in just such a manner: a near perfect replica of a Mick Casson decoration. When, however, I attempt to apply such a decoration to a pot, inhibition takes over, preventing my making any progress. It is almost as though the pot is too precious to spoil.Watching Kate Winfrey produce her decorated ware, it appears that she has no inhibition whilst working. Slip decoration lends itself to spontaneity and Kate applies slip with both brush and trailer with an apparent economy of effort and dexterity of movement. The bodies of painted animals: hares, foxes, chickens and birds are overdrawn with sgraffito or fine trailed lines often using legs, tails, wings or ears, stretching backwards or forwards, to enhance a feeling of movement around the form of the pot. A simple eye of jewelled black dot on white slip adds expression to the creatures. Lettering, too, in the form of simple adages, is trailed on to the pots with the same fluency and speed as though Kate is using a ball point pen. For my own part I would have to plan the lettering very carefully and apply it using my ‘very best handwriting’ rendering the results to be laboured and stagnant in contrast to Kate’s lively, almost dancing, decoration.The apparent immediacy of Kate’s application of decoration belies a background of some considerable ‘journeyman’ training and the absorbing of influences from a wide variety of sources. During her excellent presentation, Kate described the Roman Castor Wares of the �nd to 4th century in her home area within the Nene Valley. She highlighted a Roman pot decorated with a hare and which can be found in the Peterborough Museum.After successfully completing a languages degree, but feeling unfulfilled with her lot as a teacher of EFL in Norway,

Kate enrolled onto a pottery foundation course and ‘caught the bug’ and nothing, seemingly, not even a platoon of trainee British soldiers parachuting from the sky, could distract her from potting. A TEFL summer school in Cambridge, and dealing with the intricacies of grammar, convinced Kate to follow her convictions and pursue a career making pots. Katherine spent time at the Ceramica Inglese in Italy production throwing and decorating and then at Eric Astouls’s workshop in La Borne, France where she was employed as a production thrower and became entranced by the firing of the wood kilns. In 1991 Katherine enrolled on a BA course at Farnham which she thought was a couple of years too late because there was an emphasis on drawing which, she told the audience, was not exactly her favourite pastime. There followed a fifteen month apprenticeship in throwing, decorating and wood firing at the Atelier Bottani-Dechaud in La Borne and production throwing in both Australia and New Zealand before she was employed as a production thrower at Louis Mulcahy’s pottery in County Kerry after which she returned to open her own pottery on the Cambridgeshire / Lincolnshire border.After demonstrating the making of a slip-decorated dish, Katherine shared some of the ‘tricks’ she had acquired on her travels whilst, at the same time, elaborating on some of the factors which influence her work. Clearly, Katherine, having spent a good deal of time at La Borne, is greatly influenced by French ceramics both old and contemporary. She is inspired by folk art from around the world, the English slipware tradition and the decorated wares of her Roman predecessors. She instanced working in India, on the recommendation of Paul Young, which, she told us, was a

remarkable experience. The natural world features highly amongst Katherine’s ‘influences’ together with what she referred to as ‘architectural twiddles’ which she explained by demonstrating the making and decorating of handles, feet and stamps for her pots. Another ‘trick’ was Katherine’s use of a ‘galette’: a sponge bat on which she centred and turned her pots, showing the doubters amongst us that the pot would not move. She also told us that she used a paint brush, instead of a chamois leather to clean the rims of her thrown pots.Domestic items are not Katherine’s only line of work and she evidenced ‘The Stations of the Cross’, commissioned by St Kyneburgha’s church in Castor: a set of slip-decorated tiles depicting Christ’s journey to Calvary.Katherine concluded her demonstration by producing her monotype prints onto tiles. A layer of black slip was painted onto a sheet of paper on the back of which Katherine had previously drawn an image, in this case, an owl. The slip was allowed to stand until it was just touch dry and was then placed on top of a white slipped slab, which was also touch dry, black slip against white with the image uppermost. The image was then traced through the paper and pressed onto the slab beneath so producing a simple print.During her demonstration, Katherine used a pre-made paper template to identify, precisely, the areas of her plate designated for specific decoration. “Such

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areas should not be left to chance”, she informed us. Within the apparent improvisation, immediacy and manual dexterity, therefore, there is evidence of a lengthy and varied grounding in her craft. That which appears simple in its application is, in fact, the product of a good deal of study, research and application over a number of years. Mick Casson’s command of decoration was undoubtedly born out of similar undertakings.Katherine Winfrey is a highly talented potter who has a growing reputation as one of the country’s finest exponents of slip-decorated earthenware and her presentation, greatly appreciated by the large audience of Anglian Potters, underlined and extended this view.Peter Warren

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AgmOn Sunday �9 May our Annual General Meeting was held as usual at Mundford Village Hall. There was a very good turnout, with �5 members signing the register.Victor summarised the events of the year and was pleased at the way groups of members were organising exhibitions outside the regular AP shows. Ours is a flourishing organisation. He will be 80 next year, and suggested we should be considering the choice of a new Chairman.Treasurer Liz Chipchase reported that our finances remained healthy, with an income of £��,840 and expenditure of £60,770, much of the profit being the result of an earlier bulk purchase of stamps. The credit card sales showed a big increase because we were now using it at events other than our own major exhibitions. Clay sales were up, as were our sales of items donated by members in aid of charity at the Christmas show. Income from Newsletter advertising helped to pay for almost two full editions. However, income from our exhibition handling fee was down: it seemed that fewer of us were participating in exhibitions. Events expenses were up as a result of buying our own screen for events and pyrometers for Potters’ Camp. Potters’ Camp was more than breaking even.Ray as Vice Chairman had asked around for ideas for a new logo but there seemed little enthusiasm for change. He had also come up with some new ideas for publicity for exhibitions. Carolyn Postgate as our Newsletter Editor asked members to continue sending her material. She planned to stand down next year, having been doing the job for five years.Exhibitions Organiser Jackie Watson informed us that the fee for hiring the Old Library at Emmanuel College for the summer exhibition had been increased and our handling fee for exhibitors had increased to £�5. The bikes used for publicity were a success.The day events had gone well, particularly the Walter Keeler demonstration which attracted over �40 members and friends. John Masterton and Margaret Gardiner asked for suggestions of high-profile potters whom we could invite to demonstrate in the future. John asked for more help at

the end of events days: we tend to drift off to our cars, leaving all the clearing up to be done by a very few.Sally Macpherson set out her plans for publicity leaflets this year and asked for new images from members. She also urged members to give out those leaflets at all events they take part in. Christine Pike as Press Officer also needed material and stories which would help promote the association. In her report as retiring Membership Secretary, Mary described how membership had increased from �00 members in �008 when she started the job to over 400 this year, though she regretted that we only had two student members. Subscriptions for �0�4-�5 would remain at their present rate.As chief camp organiser Sally reckoned the camp had become a well-oiled machine and the ‘madhouse’ pressure of former years described by Bob Mowle was much reduced. He suggested that members might consider participating every other year to relieve pressure on places. Sally assured him that although we usually started with a waiting list, there were some who pulled out and we usually managed to get everyone in, if only as day visitors. Anja Penger-Onyett, Selected Members’ Secretary, reported that Katharina Klug had been selected at the meeting in April.Existing committee members who were willing to stand for re-election were duly voted back in. Viv Burns was voted in as new Membership Secretary, replacing Mary Wyatt. There were some anxious moments before a solution was found to the resignation of Jackie Watson as Exhibitions Organiser. Finally it was decided that Jackie would stay on to organise the Christmas show, while Katharina Klug would take over the invigilation rota and Ian Vance would organise the Cambridge end of the Emmanuel College summer exhibition. The meeting expressed its fervent appreciation.A new website was on its way. Geetha Alarigisamy was standing down as Website Officer and we expressed our gratitude for the work she had done over the last few years. John Murphy had kindly offered to put together a new site for us and took us through the first stages of considering what we needed. In the end it was decided to go to a design company whom we could

shout at if needed. From a choice of several companies who were sent our specification, we had chosen Plexus Media, who designed the Scottish Potters website. John Masterton would oversee the first stages. We anticipated a timescale of a few months to have the new site up and running. Several items arose in any other business. A member spoke up for those not on email. These members were at a disadvantage in receiving information by post rather later than those on email. An e-pal system was suggested, whereby a friend on email relayed information, but it was felt this might be an imposition on good friends. Jackie declared that she would be careful to send out the postal applications for exhibitions ahead of the emailed applications.The meeting indicated that the printed membership list in the Newsletter was invaluable, and we should continue it. Likewise the meeting agreed that the printed Newsletter should continue to be produced, with only archive copies held online on the website.We were alerted to the possible reclassification by the Department of Culture Media and Sport of craft as non-creative, and were urged to sign an online petition. Susan as Secretary would write to the DCMS on behalf of Anglian Potters indicating our indignation. A copy should also be sent to our Member of Parliament. It was our �0th anniversary this year and four of the founding members were present at the meeting: Victor Knibbs, Deborah Baynes, Joyce Davison and Alan Foxley.Susan CupittSecretary

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Vase by Katharina Klug on display with other members’ work at the AGM

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Early June, and we packed the car for a long journey up to Scotland. We were en route to Perth, to take part in Potfest Scotland at Scone Palace. This show is allied to the other Potfests, in Derbyshire and Cumbria, and is well established, having run for quite a few years now.It’s a long way to go – about 450 miles from home – but as we had rediscovered and visited some distant relations in Pitlochry last year, we thought we would take the opportunity of combining business and pleasure in the same trip, and see them again.Scone Palace was beautiful; the sun obliged as we arrived on Thursday, and the marquees were set up on well-mown lawns, on either side of the drive leading up to the main entrance – it couldn’t have been a better position. Peacocks strutted on the lawns (and perched in the trees). The other exhibitors were mainly from Scotland and the North of England but there were lots of friends made at other shows around the country and another AP member, Katherine Winfrey, who gave such an entertaining demonstration at this year’s AGM.Everything was provided and our efficient packing came into its own, with all of the stand bits and pieces ordered in stacking plastic boxes (�-for-� from Hobbycraft!), which, when empty, could be stacked, covered and turned into a plinth for the display. All set up on Thursday evening and after a quick photo to post on Facebook, it was back to our luxurious hotel (Travelodge – £�8 for three nights for two of us) and then down the pub.Friday weather was OK, but not sunny. Lots of visitors, but not terribly good sales for us. It’s very frustrating when you can hear the sound of tearing sellotape and bubble wrap from everyone else! However, Saturday was really sunny and warm, with lots of visitors and more open purses and wallets. After the summer of shows last year, I decided to get a credit card machine and it certainly works – it seems to encourage people to spend a bit more! The first sale on Saturday was to someone who took a look at my card, and exclaimed that she only lived about five miles from us in Bishop’s Stortford! She had a home in Scotland as well. After that, things picked up for

us, and although Sunday was very much colder and breezy (the welcoming Scottish weather), the show went really well and we came home after a couple of relaxing days in Pitlochry and a day of culture in Glasgow (visited the Hill House by Rennie Mackintosh and the Burrell Collection).This was a really worthwhile trip, renewing friendships and meeting new people, and establishing diplomatic relations with Scottish Potters. We will certainly make the journey again.Our next long-distance outing is to Keramisto at Milsbeek in Holland in September, which is actually a lot nearer to home than Perth! More to follow…John Masterton

JourNey to the North

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I belong to a group called the Anglia Parents which organises many activities for members, such as trips to interesting and unusual venues (Brooklands, Chatham Naval Dockyard and the Churchill War Rooms spring to mind) and visits to exhibitions and galleries. About two years I signed up for something I’d wanted to try ever since I left art school decades ago: a morning learning to throw a pot on the wheel. I turned up at Katharina Klug’s studio in Cherry Hinton on a lovely sunny morning and joined three others who had taken up this particular option, and with beginner’s luck I managed to centre my lump of stoneware clay and even raise it partway into an actual... pot, sort of. I just loved it, the feel of it, the appearance of a shape. Our teacher was very kind and helpful and I still have that first attempt – it’s about 10 cm wide and high and weighs about ten pounds, but it’s my first pot! I soon realised that had we had a wheel and a kiln at art school I’d never have picked up a brush or a pen, so enjoyable did I find handling clay. I found that for me it held none of the dread of the blank page or blank canvas, which never abated no matter how many illustrations I painted or inked. It was simply wonderful to feel the clay change shape, even if that shape was not what I’d intended. As I’d retired from my commercial career in TV and film design I was free to take lessons with Katharina, and my partner, children and grandchildren have been bombarded with cups, jugs, bowls and containers ever since (whether they liked it or not). At the beginning I remember something Kathi said, that if you decided, as a very young potter, to make just one particular shape – cup or bowl – for the rest of your life, you would never come to the end of the possibilities of different glazes. I spend a lot of time studying the chemical miracle of the result of temperature variations on the ingredients of the glaze mixture, and it can be daunting to know that for me it’s still the first day of school.I remembered one day on my foundation course at Winchester Art School when we were turned loose for one day with clay. I was so proud of my twisting spiral and glowed quietly while the teacher stood looking at it in silence for agonisingly long minutes, admiring my talent and my creation, surely? “What

do you think?”, I finally had to ask, and his reply burns in me still: “I’m afraid I can’t comment at all,” he said. “It’s the most boring thing I’ve ever looked at” and away he walked, leaving me utterly crushed and confused. Perhaps that’s why I never touched clay until two years ago, and I was aware that the dread of disappointment was still with me as I entered Katharina’s studio. Fortunately for me she’s a more constructive and encouraging teacher, and after a measure of success over time with the wheel I tried sculpture again one day. I was sitting alone thinking about my dad, who died when I was ��, and I realised I still missed him and wished I could have shown him what I’d achieved in my life. I reached for my bag of earthenware clay and started to sculpt his face from memory. To my amazement, after more than forty years he began to appear before my eyes. Kathi helped me choose a glaze, a combination of iron and copper oxides, and – you’ll have to take my word for it – it’s really him! He’s now in the room with me every day, thanks to the little miracle of fired clay, alongside my other sculptures and pots. I enjoyed sculpture to the point where

I decided it was time to return to the wheel, only to discover the basics of centring and lifting had deserted me, and for the first time in two years I knew frustration with clay. I find YouTube is a wonderful chance to watch the different techniques of the very best British, American and Japanese potters in action, amateur and professional. I tried slab building and really enjoyed it. I want to build a raku kiln next and try salt firing and ash glazes. As Peter Sellers’ young rock star character said: so much to do, so little time.Bruce McNally

begiNNiNgs...

The finished sculpture

The sculpture of my dad, in the early stages

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It was noticeable that glazes were lacking in colour so to compensate for this automobile paints had been applied.

Most Nigerians love colour, so the traditional potters were now using auto paints to attract sales by the roadside.Each day we held discussions and workshops; papers were read and hopes for the future were lifted when the British Council offered the hall for the following year.At a meeting on the last evening the potters voted to form an association and so began the Craft Potter’s Association of Nigeria. Would it stand the test of time?Joy Voisey

programme work experience for three talented ceramic students. Each had three months in the UK at a cost of £�,000, covered by the Foundation.Royal Doulton gave each student two weeks’ training in areas of their choice. Potters, amongst them Ray Finch, Les Sharpe and the Dartington workshop, gave training and accommodation.

This worked well for the three individuals but there were hundreds of deserving students. We felt that the money would be better spent in Nigeria.By �99� we had made links with the British Council in Kaduna, a large northern city. The assembly hall was given to us for ten days. Advertisements had appeared in Ceramic Voice asking all potters to attend the first National Contemporary Ceramics Exhibition. There was to be no entry charge, no selection of pots, no commission taken on sales and help given for transport over �00 miles.By the opening evening �47 potters had arrived, many travelling more than 500 miles and yet more arrived during the week. On the final day of the exhibition a potter arrived with three sculptures wrapped in newspaper in a plastic bag. “He was sorry to be late but the elephants had trampled through his village in the far north, knocking down telephone poles and someone from the village had stolen the copper wires to make jewellery, so no one was allowed to leave the until the culprit had been apprehended.”!! I purchased one of the sculptures.It shows a Fulani woman before marriage, the calabash covered, hiding her secrets, then after her marriage the lid is off revealing all.

CrAft potters iN NigeriAOn return to England in �987 after working in Northern Nigeria for three years Anglian Potters invited me to talk about my work and experiences in the Northern states. I had amassed a large collection of pots and slides and was happy to share them. As I was packing away, a tall African gentleman approached me saying, “Thank you for taking me back to my homeland”. This was Tony Ogogo, a potter from London. Little did I know at this point that we would spend the next �5 years working together to help Nigerian potters.During my time in Nigeria I had visited both universities and polytechnics where ceramics were taught to degree level. The facilities in most institutions were almost non-existent as far as practical work was concerned. Books were few and far between. Kilns and equipment broken and mostly beyond repair.At one university students clubbed together to build a small gas-fired kiln but gas was very expensive and often contaminated, making firing dangerous. To get the last vestiges of gas from a canister I saw a blow torch being used to prevent icing up!I began to realize the problems encountered by graduates. It was impossible to set up even a small ceramic business. Nigeria had no supplies of equipment, materials or books. Import costs were prohibitive. Together with Ben (my colleague of three years at the Teacher Training College in Borno State) and Tony Ogogo, plans were outlined to see if we could alleviate this situation.In �99� two hundred questionnaires were distributed asking the potters what was needed most in an attempt to identify some of the problems.Pleas were made for:- �) A venue to show and sell their work. �) A communication network for all

interested in ceramics. �) A ceramic resource centre for

supplies and equipment.In 1993 the first 200 copies of a newsletter called Ceramic Voice were sent to all institutions teaching ceramics. The response was overwhelming, so we continued to produce the newsletter twice a year. Students’ letters and articles were printed and queries answered where possible.From �990 to �995 we worked with the Commonwealth Foundation to

Pots made by Nigerian students whilst in the UK

Painted pots by the roadside

Painted vases in the exhibition

Niger State

Kano State

Sokoto State

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Hundreds of tiny glass beads glued on to a ceramic pot in the exhibition depicted a Fulani herdsman with his cattle

Pots painted with automobile paints by the roadside

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

Lagos State

Kano State

Maureen Baker

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Fired Works ran for a second year on �0-�� May this year at Blackthorpe Barn, Rougham, near Bury St Edmunds. It all seems such a long time ago now! Fifteen intrepid Anglian Potters decided to give it another try, bearing in mind the rather poor response from the public last year. As with any new venture it takes time to get off the ground; happily this year was better attended. It was a mammoth task to collect most of the AP display kit and lights and to get it all set up in the space that we had been allocated. However, we were fortunate to have amongst us some ‘old hands’ at setting up for All Saints’ and Emmanuel. We also had some ‘new hands’! In true AP style everyone cheerfully helped out and chipped in with suggestions and improvements and the resulting display was excellent. This included a new idea from Susan Holmes to have one bay with a sea theme to it. This was the icing on the cake, or perhaps the glaze on the pot! Sales were modest but fairly regular. Several of us demonstrated various aspects of hand-building which I felt was especially important at an event like this. The public responded well and showed great interest. It was good to interact in this way. Everyone seemed keen to take part again next year and plans are already afoot for a group of us to represent Anglian Potters again. Anton Todd

ANgliAN potters At fireD worKs 2013

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seleCteD members At the Dolby gAllery, ouNDle

Fresh from deepest Essex, our journey was well rewarded with a superb display of Selected Members’ pottery. Although not a large gallery, Simon Dolby used the space well to achieve a good overall look and displayed pots to their merits. Red spots were soon in evidence as sales began. These interestingly seemed to favour the high to medium prices, despite some clear bargains being on show. Some lovely pots, carefully made, would have been very competitively priced even outside of a gallery setting. Given the oddly strange financial climate, where some of us are struggling to make sales, maybe underpricing is still a question? As the wine, the warmth of an early summer evening and conversation flowed, the natural light faded and spotlights gave a more dramatic setting. With the aesthetic senses satisfied and business closing for the day we thanked Simon and his team for their hospitality and dwelt on memories as we drove home. Another worthy exhibition safely launched.Harvey Bradley

Pam Schomberg

Angela Mellor

Alan Foxley

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Art iN ClAy, hAtfielD

Hatfield this year couldn’t have been more of a contrast with the rain-soaked field of 2012! There were fewer Anglian Potters with stands this year. The variety of craftsmanship on display was huge and it was good to see many of the potters demonstrating at their individual stands. It was also great to see again so many potters who have demonstrated to us over the years, particularly John Wheeldon and Mary Rich – perhaps Hilary Simms might be one for the future?

Hilary Simms

Mary Rich

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Ap members At the show

Juliet Gorman: quiet elegance with a taste of Africa

Alan and Anne Foxley: garden varieties

John Masterton: ‘Le Rouge et le Noir’ with

a touch of celadon and

blue

Richard Baxter:

demonstrating

with panache

Adam Marsh:

(who, me?) with

a great selection

of bottles

�8

Kilns for ceramics

New and second-hand equipmentKilns and furnaces serviced and repaired

Potters wheels – pugmills

Essex Kilns LtdTel 01621 869342

email contact@essexkilns.co.ukwww.essexkilns.co.uk

Front LoadersTop Loaders ECO

Energy Saving Range of Kilns

�9

City & guilDs At briCK house CrAftsOn the ��th July Brick House Crafts held its annual exhibition of student work. It is our understanding that Brick House is now the only fully independent educational establishment offering training and certification to aspiring new potters. We are happy to retain our �00% pass rate and very high standard of work, evidenced in our photographs. These pictures are a combination of Level � and Level � City and Guilds coursework, which illustrate very clearly the flexibility of these courses. Each student is allowed to develop their own ideas and style of work. They are encouraged to make test tiles from as many of our �� clay bodies as they wish. This promotes good practice and avoids disappointment on finished items. All results are recorded, as are all materials used. This ability to cross-reference between work and notes informs and builds confidence.Level � City and Guilds requires a student to reach a proficient level of throwing and turning, mould making, glazing, health and safety and surface decoration. All basic hand building skills are taught here and this includes sculpture and mixed media opportunities where appropriate. We are frequently asked to demonstrate how effects and surfaces, discovered in books and galleries, are achieved. We are able to do this and this form of research and enquiry facilitates both progress within the syllabus and informed experimentation. Traditional decoration methods are basic foundation elements which provide an insight into the opportunities that oxides, engobes, slips and coloured clays can offer. No student is channeled into an area of the craft in which they have no interest. An individual inspired by minute brushed decoration is free to walk that route as is the student gripped by the thrill of large scale garden pots able to tackle those challenges. Level � is a basic grounding in good practice, sound joining, quality glaze surfaces and items made fit for purpose. Level � is an exploration into developing both the above skills to an advanced level and an opportunity to shine as an individual potter, developing style and innovation. At this level an interest in professional potters is nurtured, both to open new channels and directions and to illustrate all the advantages of

joining associations and organistations such as the Anglian Potters, which as you are aware, gives vital support to folk who would otherwise be working in isolation.Our students are trained in all aspects of our craft, raku firing is encompassed within the Brick House experience as are opportunities to smoke fire and learn kiln building, reclaiming and glaze mixing. The futures of all ancient crafts are dependent on educating new generations to a skill level which can be passed down and preserved. Failure to do this is insanity. How many people do you know who can make lace, blow glass, weave, fashion baskets or carve? The crafts which are flourishing are doing so because the people inspired by them are working hard to perpetuate them. This is the age of �D printing. Potters beware, support and promote, it is the only way forward. Mary ReedBrick House Crafts

Stephen Packer

Anne Laure CanoChristopher Lydaore

Geoffrey Banwell

Karen Jackson

Karen JacksonMary Eavery

Stephen Packer

Vivienne Cousins

�0

News from members

mArgAret hope I am currently exhibiting seven pieces in The Old Tea Room @ East Ruston Old Vicarage Gardens near Happisburgh, Norwich.www.e-ruston-oldvicaragegardens.co.ukThe garden is sensational and one of the best in the county so I was really thrilled to be invited to exhibit there.The exhibition ran until Sunday �8 August �0��. The gardens are open Wednesday-Sunday �pm-5.�0pm. Here are two of my pieces that were on show.

JuDy ADAms I am part of a �-way exhibition Sea3, taking place at Nottingham Society of Artists Gallery, 7�, Friar Lane, Nottingham NG� �DH, �4-�9 September �0��. Sea� is an exhibition of ceramics and textiles by three makers each inspired and influenced by the sea and shore – ceramics by Judy Adams and Sarah Burton, textiles by Mel Anderson. I will be showing Seascapes, Strata and Seastones, plus new sea-themed work including ceramic spoons with fish-decorated handles and undulating trays reflecting the contours and imprints of rippled beaches.

My Seascapes are richly textured bowls, platters and handled vessels.Outer surfaces, in soft matt shades, are encrusted with impressions of weed, barnacles, corals, shells, fish and shingle while interiors are high gloss glazed in swirling blues, greens and white. Reflecting the ever-changing nature of the sea, each piece is individual in its form, colours and markings. Seastones are inspired by the sea’s power to erode – smoothing rock into pebbles. These pieces are thrown on the wheel, and feature dramatic white on black striations. Strata are influenced by sloping cliff formations and are created from individual strips of clay, each section separately textured, coloured and angled into open-topped box forms.

Flat Black

Elegant Lady

Ceramic spoons

Seascape vessel

��

For Sale

FITZWILLIAM WHEELExcellent condition. Wooden cabinet, fibreglass splash tray. Excellent for throwing larger amounts of clay easily.Very smooth drive mechanism, low noise and vibration, whilst still producing excellent torque.£600Contact Suee: susie.bruce1@btinternet.comt: 01394 384865

mArgAret gArDiNer These fish in the garden were destined for the From the Sea outside exhibition /competition at Potfest in the Park in July. My future shows: September �4-�5 Keramisto, Milsbeek, near Nijmegen, Hollandemail: info@keramisto.nlwww.keramisto.nlNovember �4-�5, Dec �-�, 8-9, �5-�� Crafts at Blackthorpe Barn �0am -5pmemail: events@blackthorpebarn.comwww.blackthorpebarn.com

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Art uNequAlleDArt Unequalled will take place for the third year this October, featuring the work of some of Anglian Potters. There will also be a fantastic selection of quality handmade jewellery, glass, paintings, textiles and prints.Show organizer, AP member Sally Dunham, set up the event in �0�� as she wanted to establish an event where both artists and visitors are assured that everything within the show is handmade by the artists exhibiting and of the highest quality. Visitors have not been disappointed, with many commenting that it is one of the best mixed shows they have been to in the area!Why not visit this year? For more information see www.artunequalled.co.uk or call Sally on 07850 �8�5��

members’ shows AND reCeNt worK

JohN mAstertoNSeptember �4-�5 Keramisto, Milsbeek, Near Nijmegen, Hollandemail: info@keramisto.nlwww.keramisto.nlSeptember �0-��, Ceramics in the City, Geffrye Museum, LondonNovember ��-�7, Art in Clay, Farnham Maltings, Farnham, Surrey.

DesA philippi October �-�5Koukan GalleryDesa Philippi Ceramics and Photographs Tues-Sat ��-�pm, Sun ��-5pm�0�A Alexandra Park RoadLondon N�0 �AEwww.koukangallery.com

Not long ago, I found myself in the Fitzwilliam Museum in Cambridge. I had gone to see a Calligraphy exhibition, but on our way through the galleries I became aware of the enormous amount of ceramics in their collection. There was such diversity of pots on show from so many countries and in so many styles and over so many centuries, that I realised how much we take for granted the material which links us all together.Earlier this year I visited the Leach Pottery in Cornwall and, seeing the original studio set up reproduced, I realised what very hard work our earlier potters had, in digging and conditioning their clay, even before they started making anything.We are so lucky now that there is such a choice of clay recipes available for every type of ware and firing. We just open the bag, and ‘bingo’ it’s on the wheel and becomes a pot in no time at all.Clay is such a wonderful resource, and still comparatively inexpensive. The big question is: to recycle, or not ? I find it difficult not to do so! I’m like a war-time housewife – I cannot bear to throw anything away if it can be used again! There is something very satisfying about turning a mass of hard turnings and slurry into nice smooth clay by the wedging and kneading process. The last word goes to my husband. As a woodworker, he tells me I am lucky to be able to make use of all my material as he just has to waste a great deal of his.What do you do?June Gentle

ClAy: our mAgiC mAteriAl

June Gentle: work at the Babylon Gallery, Ely, in August

mAureeN bAKer

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�4

DiAry DAtesMatthew Blakely:8 September, Mundfordwww.matthewblakely.co.ukIckworth Wood Fair:5-6 October, IckworthElizabeth Smith:13 October, Mundfordwww.crafts.org.ukAP Christmas Show:16 November-15 DecemberAll Saints’ Church, Cambridge

2014Eddie Curtis 9 February, Mundfordwww.eddiecurtis.com Sasha Wardell 16 March Mundfordwww.sashawardell.com

membership fees Ordinary £27 – half year £15Joint £45 for two people at the same address – half year £25Institution £50 for a college or workshop – half year £27 (details on application to the Membership Secretary)Student £10 for full-time ceramicsstudents – proof of status is required

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DeADliNe for the wiNter Newsletter:

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