1

NEWSLETTERSUMMER 2011

www.anglianpotters.org.uk

IN THIS ISSUE:Richard Godfrey'Bling' Weekend

Mark GriffithsRuthanne Tudball

Woodbridge Art ClubA Suffolk Potter's Tale

2

EDITOR’S NOTESWe have reports from two terrificdemonstration days in this issue – theseevents are hugely popular withmembers, and are often a great surpriseto the demonstrators themselves, facedwith supportive and very enthusiasticaudiences of around 100 people! Thereis a real buzz at these events, which are agreat opportunity to meet old friends,make new ones, and exchange pottingideas. If you have never yet come alongto one, make a note of the next date, 11September, and come to watch LisaHammond demonstrating.If you need tips on production potting,look no further than the article on MarkGriffiths, who fulfilled large orders forRSPB, Oxfam and the National Trust,and Alice Garland’s recent experiencesupplying the Conran shops. It is goodto know that AP members ColinSaunders and Jerry Finlayson lent Alice

Cover: Teapot by Richard Godfreywith rubber handle fastened with clayrivets. Photo: Carolyn Postgate

DAY EVENTS

It was good to see the last two events atMundford so well attended, with bothbeing enjoyed by all. Your Committeehas decided that members who alsocontribute food items need not pay fortheir lunch. They will still be entitled toclaim costs in excess of the lunch costs.

SELECTED MEMBERS

Congratulations to Madelaine Murphyon being accepted as a SelectedMember. I look forward to seeing herwork in future exhibitions.

DOLBY GALLERY, OUNDLE

The Private View at this SelectedMembers’ exhibition was well attended.Nineteen members’ work was welldisplayed in this charming small Gallery.A wide range of styles and scales ofwork created a very interesting show. Isaw some red dots appearing withinminutes of the opening.

CHAIRMAN’S REPORT

FUTURE PROGRAMME

I am most encouraged to see such a fulland varied programme planned for2011. We have two Day Events, Potters’Camp, Emmanuel Summer Exhibition,Ickworth Wood Fair, a SelectedMembers Exhibition at the AppleyardGallery in Holt and All Saints’,Cambridge, Winter Exhibition. Iunderstand that our members will be atthe Newmarket Art and Design Show,Art in Action, Art on the Prom and Artin Clay.I look forward to seeing many of you atsome or all of these events.Victor

a helping hand.One of the great strengths of AnglianPotters is the willingness of members toshare their expertise with others: the‘Bling Weekend’ was an invaluablechance for some to tap into HelenMartino’s long experience of workingwith enamels and lustres.Carolyn

3

Page 2 Chairman’s Report; Editor’s Notes; CommitteePage 3 New Selected Member; Dolby Gallery; Help required!Page 4 Richard Godfrey at MundfordPage 7 Woodbridge Art ClubPage 8 The ‘Bling’ WeekendPage 11 Peer Review or Not?Page 12 A Suffolk Potter’s TalePage 13 Members’ WebsitesPage 14 Mark Griffiths at MundfordPage 16 Ruthanne Tudball VisitPage 18 Members’ Exhibitions and Opportunities; Ceramic HelplinePage 19 Quiz; Clay StoresPage 20 Equipment For Sale and Wanted; Diary Dates,

Membership Fees, Advertising Rates

ANGLIAN POTTERS NEWSLETTER SUMMER 2011

ANNUAL SELECTION

This year Madelaine Murphy wasappointed as a Selected Member.Madelaine lives and works in Leigh-on-Sea, qualified in Ceramics from theCrawford College of Art in Ireland andcompleted her MA in SculpturalCeramics at the University of Wales.She has worked and exhibited in rakufor over ten years, exploring the glazesurfaces on a range of both functionaland figurative work. This Estuary PotBeach Hut is inspired by the ThamesEstuary, where she lives, and Japaneseteabowls.Congratulations to our new SelectedMember and many thanks to theSelection Committee!Anja Penger-OnyettSelected Members Secretary

Caro

lyn P

ostga

te

Imogen Statham

Jonah catches the whale

HELP REQUIRED!We need a volunteer to undertakethe catering on the demonstrationday, Sunday 11 Sept, as I will beaway. If no-one volunteers, it willhave to be a ‘Bring your ownlunch’ session! Please contact meif you can help:bm.green19@btinternet.com01206 271019Brenda Green

DOLBY GALLERYThe Selected Members’ exhibition at theDolby Gallery,Oundle,opened on 6May. Here area fewphotographsfrom the show,taken byMargaretGardiner.

CONTENTS

4

RICHARD GODFREY AT MUNDFORDTo begin with I must admit to somemuddle in my mind over the three G’s –the two Godfreys and the one Gregory.(But even Richard himself, during thetalk said he’d once used this confusionof names to his advantage.)However, the particular G weexperienced at Mundford could, infuture, never be confused with anyother! Who else could possess hisdegree of energy, enthusiasm and a kindof elfin mischievousness? And at the ageof sixty-one!Ever since college days in Bristol,Richard seemed determined to dispensewith dogma, myth, and unnecessaryaccepted knowledge and, through clearthinking, to establish his own way ofworking. It is this clarity of thought I soadmire.Some of us might take a troublesomecar into the garage and describe itssymptoms as, “… sometimes makingodd noises. I hear them more at night –but perhaps that’s because I’m tired ...”Meanwhile the mechanic is hardlylistening, his mind being inside theclutch-housing, visualising the wornlinings. In the same way Richard seemedto see inside glazes and understand theforces at work. He described one glazeingredient as being “hungry for silica”.Such characteristics he was able to workwith.Similarly, his knowledge of clay bodieswas penetrating. In future I will notassume that clay left in balls prior tothrowing – whether covered or not – is“improving” as it waits. He would insist

on the re-working ofthe clay even if use hadbeen delayed for whatseemed a very shortwhile.Perhaps now would bea good time to look atthe finished work itself.I’ve often found thatthere is a surprisingcontradiction betweenthe artist as a personand the nature of hisor her work, Forinstance J. M. W.Turner, whosepaintings are oftendescribed as sublime,was called by acontemporary “agrubby little man.”Or there was Sir JoshuaReynolds, a manalthough dedicated toadvancing theprofessional standing of artistsneverthless, for reasons known only tohimself, used untried materials on hiscanvasses which badly discoloured as aresult. So it was not altogethersurprising for me to find that theincisive mind that cut so cleanly throughthe problems of making, glazing andfiring should lose its sharpness whenassessing the finished objectsthemselves. I’m certain that many atMundford will totally disagree with myviews but I found the ceramicsmannered, two-dimensional, and thedecoration distant and cold – despite

the heat of the colours.But if there is disagreementover the work I’m certain therewill be none over thedemonstration. It was withoutdoubt the most generous, openand enjoyable demonstrationI’ve experienced.At no point did Richardpreach ‘how to make Godfreypots’. Instead he soughtgenuinely to open our eyes tothe possibilities of quite basictechniques. For instance, a holecut in a cardboard box, or theuse of a knee, seemed to makethe whole business of plastermoulds redundant.He was generous too in

acknowledging a great debt to theAmerican John Glick. I wondered for aminute if in promoting the ‘GlickSticks’ and the advantages of ‘cut’rather than ‘rolled’ slabs he wasn’t ineffect declaring rolling-pins (and slab-rollers!) redundant. But for him it wasalways ‘horses for courses’. His was away, not the way – and anyway noteveryone is prepared to knock up thelarge block of clay needed when usingthese cutting sticks.So, from laying out the slabs (on anasbestos substitute called masterboard)and through the forming processes, hereached the stage of joining.One of pottery’s lost techniques ispress-moulding and, before modernslip-casting, it would have been used formaking pieces such as the large jugs forVictorian bedrooms. Two press-moulded halves would be joinedvertically. Richard, using this techniqueto make a teapot, dwelt in detail on theart of joining.Important factors were the consistencyof the slip (like Hellmann’s mayonnaise– applied via a squeezy sauce bottle);the avoidance of ‘messing’ with the jointonce made; and the importance of a pin-hole to ease the pressure of trapped air.The forming and joining processes werea joy to watch, and for many it musthave been a new experience to see

Hea

ther

Gra

ham

Caro

lyn P

ostga

te

5

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Dav

id M

oore

kidneys used with such delicacy.In what seemed like a bonus, Richard demonstrated throwing.He chose not to embark on the spectacular but, again, therewas a grace in the directness of his technique – and its sheerspeed! During the day Richard joked that his audience mightwell drop off to sleep. I’m absolutely certain not one of useven began to nod!The day was so full that, in these few lines, I’m certain I’vemissed recording much of interest – yet I’m aware I’vemanaged to find space for my own hobby horses! However, Iwill defend this as I see our association as a professional body,and have tried to write accordingly.Colin Saunders

Hea

ther

Gra

ham

hands on

knee in action

component parts of a teapot

measuring a lid

kidney work on the hole in the cardboard box

blow dry

the perfect join

6

RICHARD’S RECIPESGLAZE:Lead Bisilicate 60 (or 70 if you wantmore flow)Calcium Borate frit 10Feldspar (either) 10China Clay 8Flint 5Whiting 2

BASIC SLIP:Puraflo Blu Ball Clay 70China Clay 30

‘Glick Sticks’ & ‘The Beverley Sisters’

Below: extruder in action;below right: Richard’s extruderconstruction diagram battling the fire alarm in the kitchen

Caro

lyn P

ostga

te

Caro

lyn P

ostga

te

Dav

id M

oore

Hea

ther

Gra

ham

Caro

lyn P

ostga

te

7

other club activities. Also, when thepotters pot, (Club reserves Mondaysfor pottery from dawn to well afterdusk), they want to get on with theirown work and not have to stop and giveinstruction to someone else every twominutes. The Club does not profess tobe a teaching establishment although itdoes run its own internal courses fromtime to time, almost exclusively forpainters.So if you find yourselves inWoodbridge, come and visit us and seeour own little pottery section. Thepotters will be there, as I said, onMondays (except Bank Holidays) butthe Club’s exhibition is open from10am-6pm at weekends and PHs fromEaster until mid September andweekends 10am-4pm during November.The pottery varies from the sublime tothe ridiculous and from the naive to theprofessional! One of our members whois not far short of 90 still producesbeautiful and elegant pinch pots. TheClub only uses stoneware materialsbecause it eliminates the inevitablemixing of clays, glazes and firingtemperatures, however well markedeverything is.As a bonus, during the exhibition timesthe Club displays about 100-120paintings and a table top of lace: itsaves the non-potters from getting toobored!I think the beans have been well andtruly spilt.Andy Wright

WHO ARE THEY?Have you ever cast your eyes down theAnglian Potters membership list andcome to the Woodbridge Art Club andwondered who they were and just howmany of them there are? Well, for thoseof you who are not privy to thatinformation let me spill the beans.The Art Club was formed in the early70s and managed to lease its ownproperty on the water front, adjacent tothe Tide Mill at Woodbridge: a trulybeautiful part of the town withoutstanding views of the river. The aimsof the Club were to promote andencourage amateur artists and to datethat is what it is still doing. Themembership is capped at 200. Nowbefore anyone gets hold of the wrongend of the stick and thinks that the APmembership is supporting an extra 200people under the banner of aninstitutional membership, hold yourhorses and I shall explain.The Woodbridge Art Club has 3 mainsections, namely the artists/painters, thelace makers and the good old potterswho number a mere 28 souls. It is thissection that joined the East AnglianPotters Association when the EAPAwas in its infancy and has supported itever since. Of these 28 potters about 12are regularly producing work. At thelast count at least 4 are members of theAP in their own right. A hard core of 3regularly go to the Potters’ amp withone or two others joining in from timeto time. Again, with the aims of the artclub in mind, other members of thepotters’ section are encouraged toattend the Anglian Pottersdemonstrations in order to improvetheir work.To become a potter at the Art Club it’sthe old catch 22 situation – you cannotjoin unless you have already donepottery before. The reason is simple.The Art Club has very limitedresources: one kiln, one wheel, limitedstorage space for work to dry etc. andlimited space for buckets of glaze, all ofwhich have to live in harmony with the

‘Witch’ Hazel Murray and work bymembers of the Woodbridge Art Club

8

THE ‘BLING’ WEEKENDGold, Lustre and Enamelling Workshop withHelen Martino2nd & 3rd AprilCathy D’Arcy kindly offered to open her homefor two days to different groups of AnglianPotters eager to learn about the mysteries oflustre ware. The venue was well prepared for theunreliable English weather with a marquee andtables. A constant supply of tea and coffee,lunch contributed by all participants, and cakesfor tea were all available. Susan Cupitt gavegenerously of her time in helping to organise theevent.The day began with Helen Martino producingvarious coloured enamel transfer papers, metalleaf papers and a leaflet full of veryuseful information about the varioustechniques we would be tackling.Looking at these was somewhatdaunting, and when various exampleswere passed around with explanationsand appreciative “oohs” and “aahs”, therealisation of what lay ahead becameeven more confusing.With a short, but very comprehensivedemo from Helen, we were soon feelingmore confident and began “freeing”ourselves and cutting and tearing thevarious enamel transfer papers. Thosedoing lettering often forgot to reversethe writing, whilst others showed apreference for a particular colour(black!). The ease of using the transferpapers helped to dispel any worries andbecame very absorbing, to such a pointthat I think we would all have continueddoing this for some time. But it wastime to move on.Helen gave another demo aboutapplying various lustres from gold topearly lustre colours, with greatemphasis on health and safety issues. Shepresented each technique in such a waythat made it look so easy andencouraged experimentation. The fumesfrom these lustres were quiteoverpowering at times, but due to atimely breeze these were quicklyreduced. A silence fell over the group aseveryone concentrated on applying theirvarious designs and marks, taking carenot to get them everywhere except onthe pottery.It was hard to down tools and stop forlunch. Exchange of ideas, variousexhibitions coming up, and Potters’Camp were all discussed as we enjoyedour much appreciated food and drink.

Soon we were being shown how to mixand apply enamel powders. This provedto be a real challenge for some of usbecause it required some control with apaint brush. The ease of producinglovely sweeping brush strokes by somepotters could only be envied as othersstruggled to come to terms with it.Lastly we were shown how to apply thegold, silver and copper leaf to finishedware.It soon emerged that various techniqueswere being combined, and many peoplewere really beginning to experimentmore and more, being prepared to seewhat effects might be achieved. This, ofcourse, is the great thing about this sortof occasion. We did not see any of thefinished work then and there, as we tookour work away to fire in our own kilns,but hopefully some of it may appear atone of the Anglian Potters shows.The end of a very enjoyable andinformative day came too quickly, andhappy, tired potters made their wayhome with minds ticking over about allthat had been learned and possible ideasfor future work.A very BIG thank you to Helen forgiving her time to share her knowledgeand experience with us, for making itlook so easy, and her genuine interestand encouragement.For anyone who has not attended any ofthese AP occasions I can strongly urgeyou to do so. Not only do you have theopportunity to learn new techniques andtry them out, but you get the chance towork alongside fellow potters.Words: Juliet Gorman. Pictures: RosellaSchembri and Juliet Gorman

9

some finished work

Julie

t Gor

man

Julie

t Gor

man

10

Kilns for ceramics

New and second-hand equipment

Kilns and furnaces serviced and repaired

Potters wheels – pugmills

Essex Kilns LtdTel 01621 869342

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

11

somehow. I wanted a baselineof where my work currentlystood and wanted to explorethe possibilities of where itcould go.Why did I take my mistakes? Itgave me the best feedback.The panel pulled out apositive aspect of the piecewhich I had not seen. I wastoo close to it and could onlysee that it had not worked.Discussing the comments withthe panel helped to clarifywhat elements I did like and Iplan to research my ideasfurther and incorporate myfindings into my next pieces.The feedback on the goodpiece was confidence-building.I was worried that the qualityof my work was not goodenough for an exhibition. Irealised that the piece itselfwas technically proficient andwith growing experience this would onlyget better. Discussing the differentelements of the piece has generatedmore paths that I can explore todevelop the work further.What did I get out of this meeting?Renewed focus and excitement in mywork. I have a clearer understanding ofwhere the work is at the moment andpossible avenues to explore.So where do I go from here? I don’tknow, but I will put my name against mywork the next time I put it on show at amembers’ meeting!

Do you think a fresh pair of eyes couldgive you a new perspective on yourwork? If the answer is yes, how abouthaving your work informally reviewedby some of the more experiencedmembers of the Anglian Potters?This is exactly what I decided to do as Ihave little experience in creatingceramics and I am hesitant to put mywork into exhibitions. I have still notbeen brave enough to put my work onshow at a members’ meeting with myname on it!Informal reviews are about givingcritical analysis on a piece of workhighlighting its strengths, the lesssuccessful elements and giving reasonedarguments for the observations. It is anopportunity to discuss these points in asupportive environment and explorehow to refine them. Advice is wideranging, from technical expertise toresearching other artists withcomplementary inspiration. They arenot about giving personal opinions onsomeone’s work such as, “I like thecolour” or, “Isn’t it horrible”. Thesetypes of comments relate to personaltaste and although valid in their ownright do not support the artist indeveloping their ideas further.I decided that I would get the most outof this meeting if I took examples ofthe good, the bad and the downrightugly that showed the progression of myideas. I had been developing a conceptover the last few months but I felt I hadlost my way a bit as there were so manyideas and I was missing the mark

What would I tell others? It is a greatthing to do. Have a go, you will comeout with a different perspective.If you are interested, give Anja Penger acall to find out when the next informalreview will be held.Karrie Langdon

PEER REVIEW OR NOT?

ANSWERS TO QUIZ:a: Capped b: Implant c: Missingd: Tooth on edge e: Bridgef: Wisdom g: Blueh: Tooth on a plate i: Tooth-e–pegj: Milk k: Sweet l: Crown m: Brace

12

I studied ceramics at CamberwellCollege of Art and graduated in 2000with a BA in ceramics. I then worked fora pottery supplies company, whichenabled me to try out new techniquesbut I began to feel frustrated that Iwasn’t producing my own work. I cameback to Suffolk and converted the oldgarage at my mother’s house into aworkshop. I couldn’t pot full time, so toearn money I started working with agroup of gardeners. It was a perfectcombination. I began to love thegardening, learning a new skill, doingphysically exhausting work and beingoutside, then on rainy days andweekends I worked on new pieces in myworkshop. My work is hand built usingsheets of paper porcelain which I makefrom a mixture of raw materials. I mixthe clay into a slop, then pour it ontoplaster bats. Once it is semi-dry I wedgethe clay, then roll it into sheets. Therecipe was given to me at college when Istarted experimenting using differentclays to make vessels as thin as possible.This then developed into makingdelicate but functional pieces which Idecorate using underglazes and oxides.I started supplying a couple of galleriesin Suffolk, then was lured back toLondon and took on a small studio inthe East End, carrying on supplying theSuffolk galleries and then a gallery inEast London. After a couple of years Irealised that I wasn’t happy living inLondon and yearned for the Suffolkcountryside and the sea, so once again

the pieces they were interested in. Iasked roughly the quantity they wouldwant to order. They thought no morethan a hundred of each piece, which Ifelt was a very reasonable numberthat Icould easily manage to make in fivemonths. They chose three patterns and afourth pattern that I would makeexclusively for the Conran shop.Confident that I could complete theorder for them I went home and waitedfor their confirmation. I made a start onthe order but in quite a relaxed manner.It was two months later in Octoberwhen I received confirmation and threeseparate orders: one for the Londonshop, one for Paris, and another forJapan. Realisation dawned! The totalorder was for 2,500 pieces, the first tobe completed by January, the other twoby February. The first order for Japanwas the largest. Having already startedon the order I realised how much morework per day I would have to do in

moved back. Ireturned to Suffolk in2009 to my neglectedworkshop. I was nowsupplying about 10galleries nationwide, Ihad a website, and Iwas managing tobalance my gardeningwith ceramics, sendingout small orders togalleries and takingpart in various fairs.Early last year the Conran shopcontacted me to ask if I would considersupplying them and to send them mywholesale prices. I wrote back thankingthem for their interest and explainedthat I was an independent potterworking on my own, producing smallorders and that I might not be able toproduce enough for them. I had noreply and forgot all about it. A fewmonths later they contacted me againsaying that they wanted to sell a newrange of handmade British ceramics andthat they would like to meet me and seemy work. I was very flattered anddecided I would go to hear exactly whatthey were wanting.I went to London with a selection of mywares, also with advice and stories fromfriends and other craftspeople who havedealt with large companies and whohave been exploited by them. So I wason my guard. In fact the meeting wasvery relaxed, they agreed to all myterms, pricing etc., and we agreed on

A SUFFOLK POTTER’S TALE

JERRY’S SLAB ROLLER

The design has been refined fromthe prototype mentioned inAlice Garland’s article.They are now finished and ready.

Each slab roller weighs 17kg andcosts £550, collected from Jerry.

Contact Jerry on 01473 788423or email jerry@essexsteam.co.uk

To see the unique adjustment systemin operation watch the videodemonstration of the slab roller athttp://www.youtube.com/watch?v=jIopq1ufqcA

13

MEMBERS' WEBSITES:www.angelamellor.comwww.brendagreenart.co.ukwww.broadwayceramics.comwww.cathydarcy.comwww.ceramicsbuyanja.co.ukwww.corbykilns.co.ukwww.chrisrumsey.co.uk

www.davidwilliamsampson.com

www.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.robbibbyceramics.co.ukwww.roceramics.co.ukwww.rockwellpottery.comwww.rowanhumberstone.co.ukwww.sculpturelounge.comwww.secretceramics.co.ukwww.stephenmurfitt.co.ukwww.susancupitt.co.ukwww.suffolkstoneware.co.uk

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

www.anglianpotters.org.uk

me which enabled me to more thandouble my production. I was delightedand so grateful to him. He also put mein touch with Jerry Finlayson whohappened to be working on a prototypefor a slab roller and was looking for aguinea pig to try out his newcontraption. I had always rolled out myclay by hand which is very timeconsuming. I took the slab roller homeand was able to roll out very even thinsheets in one roll. This was fantastic. Iwas also able to delegate work tosomeone else, which let me get on withdecorating my pieces.I was now producing double the workand realised I wouldn’t have been ableto finish the order without the help. As

well as help from acouple of friends I gotmy mother churning-out blank plates forme: I also put her incharge of packing. Ihadn’t realised howmuch packaging Iwould need, howexpensive it would beand how long it wouldtake to wrap up and

box 2,500 pieces. I was working ten-hour days for seven days a week andwas exhausted! I only just completed thefirst order on time for Japan anddelivered it to a freight company inSouthend. It would take 6 weeks to getto Japan.I still had 2 orders to complete in amonth. Conran extended the deadlineand gave me an extra month. Icompleted the order on 23rd March. Ifeel very privileged to have been giventhis challenging opportunity. It has beena huge learning curve and confidence-builder as well as being financiallyrewarding, which is a great bonus forany craftsperson!Alice Garland

order to complete ontime. This filled me withdread and panic. Isuddenly wasn’t feelingvery confident anymore.My brother, who ismore business-mindedthan me, advised me toapproach the order in amore methodical way,and he set up a time-and-motion spreadsheeton my computer. Itdisplayed my full order and calculatedhow much work I would have tocomplete per day in order to fulfil theorder. Every time I finished a piece Iwould add it to the time sheet. This wasbrilliant, and helped a lot. It kept meconstantly up to date with where I waswith my order.I started to make a lot more pieces butbegan to create a backlog of unfiredwork. I needed more firing space!Transporting my work to another kiln,which I did consider, would be toorisky: I couldn’t afford to lose anypieces. As my kiln was already on its lastlegs I knew that I would need to replaceit sometime soon. I contacted theConran shop and explained mypredicament and, to my amazement,

they agreed to an advance payment formy order. So I was able to invest in alovely new Rohde kiln, and also I wasable to pay for someone to help me acouple of days a week.Having always worked on my own, andenjoyed it, I had been quite reluctant foranybody to help me with my work, butafter a month into the order I realised Ineeded help and advice on how I couldspeed up production. I spoke to manylocal potters and finally was put in touchwith Colin Saunders who agreed tomeet me and help in any way he could. Iasked if he could advise me on how Icould produce more of my plates. Heimmediately came up with a solutionand went away to make six moulds for

14

repetition practice that would allow himyears later to produce much larger-scalework. In the meantime he took whateverwork he could find, and wascommissioned by Oxfam to make thefirst flower pots for their catalogues;then came the National Trust, to whomhe was introduced by a friend, SimonDorrell, an artist who’d collaboratedwith the NT on landscape designs andwho commissioned the first BIG pots.This is what he has enjoyed doing formost of his working life, and wewatched several slides of his amazingproduction which can now be admiredin the famous gardens of, among others,Powys Castle and Hampton Court. Atsome point he had to employ 3 peopleto work with him on big commissions,and the photos he showed usdemonstrated that although ‘big’ can bea very personal concept, when Marksays big he means BIG!One example was a commission for 480pots for a 7 acre garden… and theywere 28" pots! These were made insections, starting with a base of 25lb ofclay, and adding maybe 6 or 7 throwncollars of up to 30lb each. They werethrowing one tonne of clay a day…Mark reflected with sadness that overthe years he had trained some very finethrowers, but often their skill waswasted as they could only find jobsunrelated to clay once they left him.Mark started doing wood firings in1995 and as he had bought somewoodland with the proceeds of someof the bigger commissions, he is nowself sufficient in that respect, but stillrecognizes that wood firing is anothertool in the making process, and doesn’tfind it relaxing! About 10 years ago hefinally moved to stoneware, as the strainof throwing on that scale forced him tostop the production of big pots.

Adam George, whowas promptlyforgiven, since hewasn’t quite one yearold yet!) he told usthat he is notinvolved in‘Ceramics’, but thathe has been a flowerpot maker for thepast 25 years.

BACKGROUND

He told us how hestarted as anapprentice afterleaving school in themid-70s under threedifferent potters,and how with thehelp of a NewCraftsman grantawarded by theCrafts AdvisoryCommittee he builthis first kiln and setup a studio in

1975 – it was the time of the ‘stonewarebrown pot’: as long as it was handmadeand brown, it would sell, so that’s whathe made.By the 80s he’d moved to Shropshire,bought a former school that he wastrying to renovate, had three childrenand a heavy mortgage and he was quitedesperate: galleries went out of businessand it was impossible to sell. Then outof the blue came an enquiry from theRSPB: could he make some bird feedersfor them to sell? And would he mindmaking 60 thousand of them?That was the turning point for Mark:that contract paid off his £35,000mortgage and allowed him the kind of

MARK GRIFFITHS AT MUNDFORD

It was a packed audience that showedup for Sunday’s demonstration atMundford and after Victor’s usualintroduction we were soon away in aworld of huge pots (well, I know huge isa relative term….but 36" diameter and4-5 feet tall is huge for a thrown pot, atleast in my humble opinion…).Mark started off by gatheringinformation on the make-up of theaudience: how many experiencedpotters, how many backseat potters,how many earn a living from full timepotting? Well, not many of the latter, aswe know. Having ascertained that onlyone amongst us had no experience at all,(and it turned out to be the gorgeous

Caro

lyn P

ostga

teH

eath

er G

raha

m

Caro

lyn P

ostga

te

15

CURRENT PRODUCTION

We saw several inspiring images ofMark’s current fine stoneware – wood-fired functional ware with the confidentlook that obvious skill produces –whilst he talked us through histechniques and recipes; we discoveredthat the characteristic red iron foot forinstance is produced using some sandyred clay from a brook outside hisworkshop, which he also uses for hisbrushwork. Of course it’s a big leapfrom big flowerpots to small-scalebrushwork, and Mark told us thatalthough he loves brushwork he feelshe’s still experimenting with it. Hegenerally uses a resist over a Hakameslip, then glazes over with a Nuka glaze(see recipes on page 16).He showed us several slidesdocumenting the building of his newwood kiln and we had a very interestingdiscussion over the construction designcriteria, although Mark confessed therewere no drawings for the kiln, they just“made it up as they went along”! 12tonnes of firebricks later, his new 80 cuft downdraught kiln was ready, with itsspecial swivel door from the USA tosave the elbow from burning against it

when feeding it with wood.During the demonstration Mark led usthrough the various steps of makingfirst a simple cylinder, then the pitcher/jug (which was used also to demonstratehow Mark attaches the handle) andfinally a bulbous bottle, made of twobowls joined in the middle. This wasalso later used to show us one of Mark’sdecorative features, with a thin coil ofclay that is rolled and stamped invarious ways, (also a ‘trick’ to create a‘ledge’ for the glaze).After the usual great spread co-ordinated brilliantly by Brenda and herteam of helpers, we were treated to anamusing duet between Mark and our LizLewis in the making of a large platter,which Mark does in two sections, with abase (36"!) being thrown first, and a ringapplied later for the sides; this techniquewas demonstrated also in the making ofan oval dish.During his demo Mark touched on thethemes of selling one’s work, and theimportance of preserving one’s healththrough good ergonomics. Heexplained how coming from a traditionof making big flower pots has informedhis current production, especially,(ironically in my opinion, given how Ifind most of us struggling in theopposite direction), the difficulties in

going down in size! By tea andcake time we were all buzzingwith inspiration to go home andhave a go, since in Mark’s words,“Confidence is all you need, andyou get confidence by knowingyou have done it before!”I am sure all present at Mark’sdemonstration will agree that itwas a most enjoyable day, andjoin me in thanking him for hisgenerosity in sharing hisexperience with us.Robi Bateman

Har

vey

Brad

ley

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Hea

ther

Gra

ham

Caro

lyn P

ostga

te

16

RUTHANNE TUDBALL VISITOn Saturday 5 March I joined a jointCPA/Anglian Potters visit to RuthanneTudball’s studio in the back ofNorfolk’s beyond. Once the technologywas working, Ruthanne gave us a veryshort slide introduction to her studioand kiln as they have evolved over time,finishing with the kiln, which we thenwent out to inspect. The kilns hadevolved in a number of ways. They hadbecome larger and more comfortable toload, always gas fired but the currentkiln allows wood to be added to aidreduction. Whilst she initially tried allsorts of sources of soda and means ofadding it, she now uses only bicarbonateof soda and sprays it in with water as asaturated solution.The kiln was designed using lego bricksposted back and forth between her andJoe Finch. In addition to the dual fuelfireboxes it also has a clever dual exitflue arrangement that allows her tobalance the heat from front to back inthe kiln, simply by moving twodampers. The base is formed of hollowconcrete blocks with a layer of blanketinsulation over them. Then in fire-brick,the two opposing fireboxes are builtwith the exit flues down the centre. Thegas goes in at the bottom of thefireboxes and the wood goes in above,sitting on kiln-prop fire-bars. Finally thechamber itself is built of a single skinof HTI bricks insulated with 2" ofceramic fibre. The roof is a sprung archof HTI bricks. She was told that siliconcarbide shelves would crack because thewater she sprays in would attack themso she uses the standard heavy shelves.She has also experimented with variouscoatings on the inside of the bricks andhas always regretted it!Ruthanne fires six times a year. Becauseshe single-fires (rather than biscuitfiring), the first 600° are very slow overnight. She then gives an oxidizing soakat around 800° to ensure anycarbonaceous material is burnt out.Then reduction can start. She tests forreduction by putting a piece of woodinto the kiln. If it bursts into flames thenthe atmosphere is oxidizing. If it charsbut only burns once removed then theatmosphere is reducing. No need forthick black smoke and flames. Soda isintroduced in a neutral atmosphere butthe water creates its own reduction.Ruthanne uses cones and athermocouple but also gauges the

MARK’S RECIPESNUKA GLAZE:Ash 50Feldspar 60Quartz 40You will have to play around with thisglaze by adding or subtracting theproportions in order to get the desiredfinish.

HAKAME SLIP:50 Malachite (200 mesh)50 H.V.A.R. ball clay.

CLAY RECIPE:50 kg Hyplas 7125 kg Hyplas AT5 kg Corderite5 kg Silica sandChina clay 6 kg + 3% Fe for thestoneware body

Hea

ther

Gra

ham

Hea

ther

Gra

ham

details of glazes

17

colour temperature by eye.Ruthanne gave us a throwing demonstration. Shemixes her own clay in a Soldner clay mixer andpugs it in her Vengo de-airing pug mill. The clayincludes ball clays, china clay, spodumeneand sand. She still wedges the clay beforethrowing on a momentum wheel. Afterdamaging her right hand she now throwspredominantly left-handed with the wheelturning clockwise. Her clay is fairly softbut she adds no further water in throwing,only a bit of slip. She made a teapot, adancing bottle and a ‘not-square’ bowl forus. Because she uses so little water, the clayis almost as firm when she has finished asit was when she started. This allows her toassemble her teapots immediately. Manyof her forms are thrown quite thick butthen shaved down using one of a varietyof cheese cutters. The wire she uses istwisty so that the cut surface has tracks leftin it.Decoration relies largely on the action ofthe soda on the form and its cut surfaces.An ash glaze inside, a tan slip outside andmaybe some accents in glazeor another slip, and that’s it.Ruthanne comes across as a

resourceful potter. She has made many of her own tools and hasdeveloped her own working methods and style. The range of herwork has expanded slowly but each piece is distinctively hers. Shedoesn’t make other people’s pots.Words: Ian George. Pictures: Liz Chipchase

18

JOHN PEEL CENTRE, STOWMARKET

CHRISTMAS FAIR 2011The John Peel Arts Centre is situated just off the main shopping street and isbeing developed as a varied arts venue. It is a key tourist attraction and will bepromoted over the next few years as part of the town rejuvenation project.There is a Christmas fair (dates to be announced) and the Anglian Potters havebeen invited to be a part of the festivities. If you would be interested inexhibiting at this event please contact Karrie Langdon atkarrie.langdon@live.co.uk or call me on 01394 412114

SUFFOLK

OPEN

STUDIOSMariam Cullumand Cathy D’Arcyare taking part inSuffolk Open Studioson the weekends of 11-2, 18-19, 25-26June at Poplar Farm House, 2 TheStreet, Holywell Row, Bury St EdmundsIP28 8LS.For more details seewww.suffolkopenstudios.co.uk

Artists are warmly invitedto apply for a new show!

ART UNEQUALLEDA new event to showcase

superb art work.at The Maltings, Ely

22 and 23 October 2011Please contact Sally Dunham for

further information on07850 286566 or

enquiries@sallydunham.co.uk

MEMBERS’ EXHIBITIONS AND OPPORTUNITIES

PETERBOROUGH

ARTISTS’OPEN STUDIOSAP members are exhibiting inPeterborough Artists’ Open Studios inJune. Denise Brown is showcasing coast-inspired stoneware vessels, alongsidethree other potters, with garden rakudemonstrations. Jane Sanders isexhibiting ceramic jewellery and Delft-style tiles, beads with traditional andraku glaze firings and raku brooches.For more details see www.paos.org.uk

CERAMIC HELPLINEMembers to contact:Alan Foxley: handbuilding, reduction firing

01799 522631Colin Saunders: mould-making, transfers,slipcasting 01379 588278Victor Knibbs: oxidised stoneware,electric kilns, modifying clay bodies

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

01473 735437Usch Spettigue: raw glazing/single firing

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 the Editor.

Mariam Cullum Cathy D’Arcy

Denise Brown Jane Sanders

19

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

QUIZ: NAME THOSE TEETH!

a b c d e

f g h i j

k l m

Andy Wright of Woodbridge Art Club has sent in a little brainteaser – enjoy!

answers on page 11

20

DIARY DATES 2011AGM: Beryl Hines &Margaret Gardiner22 May, MundfordPotters' Camp:27-31 July, ShotleySummer Show:16-31 AugustEmmanuel College, CambridgeLisa Hammond:11 September, Mundfordwww.lisahammond-pottery.co.ukOstinelli and Priest:23 October, Mundfordwww.ostinellipriest.co.ukSelected Members' Exhibition:29 October-12 NovemberAppleyard Gallery, Holtwww.theappleyardgallery.co.ukChristmas Show:12 November-11 DecemberAll Saints' Church, Cambridge

MEMBERSHIP FEESOrdinary £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 theMembership Secretary)Student £10 for full-time ceramicsstudents – proof of status 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 (350) £35.00Copy 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.uk t: 01954 211033

DEADLINE FOR THE

AUTUMN NEWSLETTER:1 AUGUST 2011

FOR PUBLICATION BY:1 SEPTEMBER 2011

KILN FOR SALE60 CU. FT COMBUSTION

KILNHigh Quality HTIs, Sillimanitesand Moler Bricks. All steel work,arch former and plans included.Offers invited.Contact Crofton Peddiet: 01362 687779 (Dereham)

WANTEDClay extruder for coiling(preferably wall-mounted)Slab rollerPlease contact Chris Rumseyt: 01636 813802 m: 07789 742383e: rumsey68@hotmail.com

KILN FOR SALECromartie Kilns LtdNo: 336 Model: HT3XKw: 6 Voltage 240 Phase 1Date of manufacture: 11/65

The kiln was made in 1965, hasbeen reconditioned and is in goodcondition. Open to offers around£100 as the controller is relativelynew and worth £90 at least.Please contact Suzanne Ramptonif you are interested.t: 01245 223672e: info@buttsgreenpottery.co.uk

WANTEDDomestic Electricsecond-hand Kiln

Contact Jenniet: 01480 394947 or

e: Jennie@alied.co.uk

Want to be morecreative, confident

& efficient?For ceramic mentoring

& coaching contactGilda Westermann

Free goal-setting session byphone/Skype

t: 01309 671799e: g.westermann@freeuk.com

www.ceramicmentoring.com