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www.anglianpotters.org.uk

Newsletter

spriNg 2014

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ChairmaN’s report

Sally MacphersonIt is with great sadness that I have to report that Sally died suddenly in December. Sally will be sorely missed by so many members, especially the Potters’ Camp regulars. Committee colleagues will also miss her enthusiastic contributions as Publicity Secretary.Anglian Potters were well represented at her funeral, along with so many other mourners, on 3 January �0�4. Our condolences go to her family, especially her husband Andy and son Jamie.

All Saints’ ExhibitionOur Christmas open exhibition at All Saints’ Church, Cambridge, was well supported and admired. Takings were similar to those of last year, but we did incur a small loss. The setting up and taking down went well and I thank all who contributed in any way, especially regular ‘old hands’ as well as most welcome ‘new faces’.

Day EventsYour Committee discussed some minor, but important, concerns regarding our excellent Day Events. The main problems involve housekeeping. We need to find a volunteer prepared to lead the catering team! Brenda Green is not able to attend regularly and the role includes storing our catering equipment. Secondly, we are considering stopping the end-

of-day tea and cakes, as this leads to cleaning problems, especially removing trodden-in cake crumbs in the carpet! Perhaps cakes could be a part of the sweet course at lunchtime?I thank, on your behalf, both Brenda Green and JJ Vincent for their great contribution on demo days.

AGM �8 MayAs this is the last Newsletter before the AGM, I give notice that nominations are needed for the election of officers. All positions are open for election or re-election, but vacancies are open for Chairman, Newsletter and Publicity Secretary, the role carried out by Sally Macpherson.Victor

Cover: Liz Smith, bone china jug Photographed at Mundford by Carolyn Postgate

editor’s NotesI have received so many messages from members who were devastated by the very sad news of Sally’s death – you will find them on pages 7, 8 and 9, together with photographs from ten years of Potters’ Camps. Sally collected these

herself after each camp from everyone who took photos, and sent them to me to make a selection for inclusion in the Newsletter. This is our chance to show what Sally meant to us as a member of Anglian Potters and forms a small tribute to a wonderful person. She will be so much missed by her friends on the Committee, and by everyone who has been to Potters’ Camp over the years. She is remembered in my village, Coton, for coming to help the children make ceramic tiles to decorate their courtyard space: a great idea which the children very much enjoyed making. They loved Sally – she was a great teacher. It was a long way for Sally to come for the classes, and a long way to take the tiles to be fired in her kiln at home!Carolyn

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Page � Chairman’s Report|Editor’s Notes|CommitteePage 3 Annual Selection Meeting|Host Needed|Walberswick ShowPage 4 Liz Smith at MundfordPage 7 Sally Macpherson RememberedPage �0 Extruding – Beyond Handles Page �� Step-by-Step: Drum Firing the Wright WayPage �3 Ceramic HelplinePage �4 The New Anglian Potters WebsitePage �5 Members’ Websites Page 17 New Clay Dump in Cambridgeshire|AP Clay Stores Page �8 All Saints’ Church Christmas ShowPage 19 Black on Black ExperimentsPage �0 Events Around the Country in �0�4Page �� Pottey Courses Run by MembersPage �4 For Sale|Diary Dates|Membership Fees|Advertising Rates

CoNteNts

aNgliaN potters Newsletter spriNg 2014

Our annual selection meeting will take place on �� April �0�4.To apply, please contact Anja Penger-Onyett (see contact details under Committee Members on the opposite page) as soon as possible. Anja will send you an application form and a letter pointing out your commitment to Anglian Potters as well as the benefits of becoming a Selected Member. Your application has to be returned to her by 3� March �0�4.Selections will be made in the following seven categories:Ceramic Sculpture; Architectural Ceramics; Domestic Production; Ceramic Jewellery; Semi-Industrial; One-off (wheel & hand built) Pottery; Others (not covered by the above).You will need six pieces of work. The selected ceramic pieces should represent the best of your work, they should stand well together and they should all be appropriate for the category you apply for.We need your Curriculum Vitae and any supporting material that you have. We also need two good photographs of your work and six digital images, which we will retain if your application is successful. They will be used for the Selected Members’ page on the Anglian Potters website and for the Selected Members folders which are on show at Selected

We are in urgent need of someone to accommodate Sasha Wardell on �5 March, before her demonstration day on �6 March. It would be wonderful if a member who lives not far from Mundford could spare the space. Please contact Margaret or John as soon as possible if you can help (see Exhibitions Organisers contact details on the opposite page).Margaret Gardiner

CaN You host sasha?aNNual seleCtioN meetiNgMembers exhibitions.Normally applicants for Selected Membership should have shown their work before in our open exhibitions or should have attended an informal feedback session (see below) before applying.The selection committee varies each year. It is comprised of not fewer than seven Selected Members, three of whom are members of the Anglian Potters committee.

Informal Feedback SessionIf you are not sure whether to apply for selected member status yet or you seek an opportunity to get advice on how to improve your work you may like to consider an informal feedback session. We would like to offer these for any member who would like their work reviewed by at least three selected members. The informal feedback sessions usually take place in conjunction with the Anglian Potters demonstration days and by prior arrangement. Please book for this session with Anja. The next demonstration day is �6 March �0�4. If you want informal feedback about your work on that day please book with Anja before �0 March �0�4.Anja Penger-Onyett

I have booked Walberswick Village Hall 30-3� August for an AP selling show. This is the last weekend of the school holidays and should draw a large number of visitors. Each member will have a standard hall table for display and will share some common space inside and out. We will have a wheel for the public to have a go and raku for demonstration. Some accommodation will be available locally alongside camping. Cost about £�5-30, given numbers attending. Further details to those who book this event. Walberswick, traditionally an artists’ haven, is on the south side of the river Blythe opposite Southwold and draws large numbers of tourists. To book a table contact Rob Rutterford direct 01986 875159 or email robrutterford@aol.com before � May. There has already been lots of interest, so get in quick!!Rob Rutterford

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liz smith at muNdfordThis well-attended event saw Liz giving us an interesting demonstration of how she achieves her light, bright, translucent pieces.After her first years of studying at Leicester (ceramics, stonecarving and sculpture), followed by working in London, Kent and Devon (ceramics, art and theatre design), she went out to Oman with her husband, becoming the artist-in-residence at the university in Muscat. She was inspired by what she experienced in her three years in Oman – the light, the architecture, the culture. Things concealed, not revealing all at once but enticing one to explore – reflected in the decorum and refinement of the people.White bone china, which she started working with in Oman, was the perfect material in which to express these ideas, and below is a description of how she achieves her aim. Here she uses Valentines transparent white bone china, which she fires to 1240°C.She first does sketches to see what kind of form she needs, bearing in mind the tolerance of bone china. This is a stiff, short clay so she chooses forms that are suitable, for example cones, and others that do not split or sag when they are fired.

After making the form, from thick water-colour paper, she uses newspaper to make outer coverings over which the clay is laid. These can be removed once the clay and newspapers can stand alone. This allows her to make successive forms from the original without waiting for the clay to dry completely.

To prepare the clay for shaping she follows several steps. Firstly, she develops a template, cut once again from water-colour paper, which is precisely tailored to go round the form, and also has areas cut out to allow the texture to be added. Next, she rolls out the clay onto fine muslin, placing her paper pattern onto it and putting embossed wallpaper over this. As she continues to roll out the clay, the pattern acts as a mask, leaving the clear lines without texture that are one of the distinctive characteristics of her work. The wallpaper imparts a background texture, which she will then add to, using stamps and other useful tools, some made, some found. Holding the scalpel at a right angle, she cuts round the outside of her pattern.

Now she can move on to the next stage. The cut out clay is lifted away from the rest, revealing the tailored piece that will fit exactly round her form, so precise are her measurements.A tip she gave us here was to cover the piece of clay with cling film when this stage is finished. This not only allows greater ease of manipulation, but also protects the crisp texture. It also means that you can bevel the

sharp edge of the clay by running your finger round it through the cling film, which prevents the drag and distortion you would otherwise get.Turning the clay over gently onto the cling film side, using a flat piece of

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sponge, she now places her form on to the clay and rolls or carefully manipulates the clay into place round the form. The outside edges of the clay close over smoothly and fix onto each other, by dint of scoring, slip and years of experience.She has several neat tricks to make the attachments to her pieces. For instance, one way she does her handles is to throw a shallow ring, cut through it giving two C shapes, and join them back to back, as in her jug on the front cover.She has several types of feet to suit different pots. For one she uses a

template to cut out long triangles, which she coils around a paint brush handle.For another, she rolls out thin coils, brushing water down one side and twisting them over into a circle.These are then attached with the minimum of slip to the bottom of the dish, using a form marked with the positions of the feet.To make her dishes she lays the clay, cut to size, over pottery forms already fired to bisque and fires them upside down so they keep their shape. For her larger dishes, she uses a concave bisqued form, setting the clay inside. A leather-hard thrown rim is then lowered and bonded onto the dish. This dish will

Liz’s tools and stamps

be left in the form throughout drying and firing. After firing she uses abrasive sponge or wet&dry + washing up liquid to give the surface a lovely smooth aspect.Now she has returned to the UK, Liz continues to develop her fine bone china work in Devon, showing at multiple venues at home and abroad. She is a founder member of the Westcountry Potters Association and a professional member of the Crafts Potters Association. You will find examples of her work at www.crafts.org.uk or by typing her name into any search engine.Jackie Watson

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A Life Well LivedSally Macpherson died on the ��th December after a short period of illness. She was a member of the committee of Anglian Potters for a number of years and will be well remembered by the attendees at the Potters’ Camps for her organisational skills.Sally, born Sally Westlake, was talented as a young woman who, at school, showed skills in both art and science and, whilst she gained her PhD in Chemistry, succeeded during her life in making a contribution in both areas. After university she specialised in the chemistry of munitions, working initially at the Royal Armaments Research and Development Establishment at Waltham Abbey and then at Fort Halstead. Later in life she was able to deploy her artistic skills as a Potter, as an organiser of a Pottery club for children and then as the technician at the Davenant Foundation School in Loughton.Sally was also a keen gardener both in her own garden and at the heritage garden at Spring Cottage. She was the wife of Andy and the mother of Jamie. She will be missed far beyond her immediate family.Peter Spital

sallY maCphersoN remembered

Anglian Potters RememberSally and I met through our mutual love of Potters’ Camp. I had been one of the organisers of the first camp held in Lamarsh, where we met. There were tepees on site to sleep in and I think

she used one of them with Jamie. I have fond memories of fun and laughter and Sally and Jamie using the hot tub which had been commandeered by the children. We have met nearly every summer since at Jerry’s Camp to have a fun-filled escape from home. Over the years I have relinquished lots of jobs into Sally’s capable hands: she had everyone organised and a list to cover all the activities, including feeding over 80 people on a Saturday night with a gourmet meal. My job changed to being a willing assistant and feeding her on other nights at my caravan at the

top of the field which we often call the naughty corner. My caravan was moved from outside the kitchen window to its present position after a very wet camp where it was the venue for a noisy late night session which included Sally. It is hard to describe all the silly adventures we shared but here goes. There have been walks with torches along the river bank to have a pint in the pub with Sally nearly disappearing down a large hole; singing and dancing in the marquee with a special year where pole dancing was the highlight; lots of pyrotechnic moments and late nights feeding the wood kiln on the midnight stint, with the chainsaw starting up when everyone was asleep.We have had magic moments when our pots have surpassed our highest hopes and we have gone home clutching a masterpiece. Gentle walks over the hill to swim and have a hot shower before returning to camp refreshed and ready to sit down with a gin and tonic under the walnut tree before the next job. Sitting in the marquee hand-building in a group helping each other and putting the world to rights – we even managed to get a note out of ocarinas, thanks to Marie’s tuition and to make Roman pots with Beryl’s help. Lots of camp fires with various musical sessions including camp fire singing and one great evening when the piano was moved up the field while the pianist was still playing.At all times despite the constant call of “Sally” she was always smiling and always had the answer or knew the man who had. Even Health and Safety was covered in a professional but fun way. She always had a ready smile and laugh and I will miss her terribly.

Sally’s son Jamie helping Frank Logan load pots in the pit firing at Lamarsh

Liz and Sally sharing a laugh at the pizza ovens

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will continue in its vigour for those of us fortunate enough to have known and worked with her. She was blessed and so are we as a result.Geoff Lee

Friendly, warm, welcoming, hard working, swimming, joyful, playful, fun. I can’t imagine camp without her.Sue Knight

Dear Sally, the brightest star at the Potters’ Camp. So many will miss you. Always so calm and kind, so good at organising the camp. You always agreed with me, when I said I couldn’t wait till next year!!! I am sure you will be amongst us at the camp party, where we had so many laughs, God bless you, Sally – you will always be in my heart. Hazel Murray

To say it was a terrible shock to hear about the death of Sally would be a huge understatement. She was vibrant, vivacious, cheerful, hard-working and ironically, when I last spent 5 days with her at Potters’ Camp, so very full of life. Could any of us have known then, that only 4 months after camp, she would not be in this world? It is so hard to accept that she is no longer with us and that I didn’t get the chance to say goodbye. Rest in peace dear Sally, you will be greatly missed.Dawn Isaacs

I didn’t know Sally well, especially outside Potters’ Camp but to me she embodied the spirit of the camp and it’s hard to imagine it without her, welcoming all, concerned about the whole but also each individual. She facilitated years of wonderful experiences, learning and memories and this is part of her legacy to us. I was very saddened to hear of her death, especially as I was unable to go last year and so missed her. My sympathies to her family.Cathy Border

Since I had known of Sally’s illness we had kept in touch by phone and email. She was kind enough to say that Andy said her spirits had lifted after she had had a chat. We had planned to visit the Woodbridge Potters as soon as she was better and talked about what we could make next year at camp in the group session.My regret is that I was away in the USA for her funeral and was unable to say my goodbyes but I shall visit in the spring to what looks a wonderful peaceful place for my dear friend to lay her head.Liz Lewis

When somebody is no longer there you reflect on what they have given you, what lessons you can learn from them, what qualities you might like to incorporate into your own life. Sally had a huge sense of fun, of joy to be shared with others. She managed to make time for this even when seemingly entrenched in her massive feats of logistical organisation. She gave generously of her time and effort and she worked so hard and was self-effacing when people were in awe of her energy and willingness to commit herself so wholeheartedly to an unglamorous job that ‘needed doing’.She included everybody and went out of her way to welcome people who were on the margins of a group, to involve them, to make them feel valued. She listened to people and looked to see how people were doing – seeking out the positives. She celebrated others’ achievements.Writing this sounds rather worthy and serious and doesn’t translate into her joyous being. But simply thinking about all her wonderful qualities makes me want to start this new year afresh, emulating some of what she did. A lovely inspiration.Suena HarleyWe all live two lives, the one in real time and a posthumous life. It’s a mark of Sally’s input and impact that this latter

Welcome session under the walnut tree

Cleaning Jerry’s!

Running repairs to the marquee

Party time!

Movie-maker

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firing time to support me in a raku firing.I was very fortunate in getting to know her better in the summer of �0�3, when I invited her to participate in an exhibition here in Brightlingsea and again she was ever generous with her time when she came over one afternoon especially to talk me through the Mailchimp emailing system. In return, I prepared a feast of finger food for us to eat al fresco outside, whilst sheltering from the heat under the grapevine-smothered pergola.

The hours flew by and we realised we had much in common. Sally told me about practical jokes played on her during her laboratory working days. We talked about getting together after her operation, which she told me was planned for that autumn. We were going to meet up on one of her Friday ‘cultural’ excursions up to London and I was eagerly looking forward to it.Sadly that was never to be. Sally will be greatly missed, not only by those closest to her but by so many more people, like myself, whose lives she touched in a positive way. I won’t forget you… happy potting Sally, wherever you are.Nicky Sheales

Sally, you weren’t just an approachable and effective colleague but an amazingly cheerful one as well. You’ve left a big Sally-shaped hole and I’ll miss you and your laughter. Jackie Watson

I first met Sally properly at my first Potters’ Camp in 2007. Given I was rather anxious at the time, I well remember her welcome at the entrance and her calming reassurance that all would be well!Ever since then Sally was, for me, the welcoming face of Potters’ Camp, the fun person who was always around to chat or share a joke or a worried moment with. I wish I had known her better.I know I will miss her ......at camp, at Mundford and wherever Anglian Potters meet.Marie Thompson

Of course many of us knew Sally as the wonderfully enthusiastic and positive organiser from Potters’ Camp. She was the apparently unflappable one, with the sunny smile and infectious laugh. She was also always incredibly giving and supportive and I discovered this first hand whilst at camp, when she set aside time out of her own making, glazing &

We will all miss Sally at Potters’ Camp and everywhere else. Val, my wife (not a member), remembers Sally with affection as a person who welcomed in all visitors as real friends, a personality to be admired.Rob Rutterford

Sally was always bright, cheerful and unfailingly helpful, with an infectious laugh. Camp will not be the same place without her.Peter Cuthbertson

She was such a lovely lady who touched everyone who came into contact with her in one way or another. She was an enormous asset to our association, giving of her time and expertise tirelessly. Her organisational skills at the Potters’ Camps were incredible. She never seem to let anything get her down and was always so friendly, welcoming and genuinely wished for everyone to enjoy themselves. It has been a privilege to have known her.Juliet Gorman

REMEMBERING SALLYA memorial ceramic ‘stone’ is

being made for her by Ray Auker, and should be ready for us

at Potters’ Camp.We are also considering how we might help promote ceramics at the Davenant Foundation School

where Sally taught.If you would like to contribute

please send your cheque (made payable to Anglian Potters, and marked ‘Sally’) to Liz Chipchase at

46 Carlyle Road, Cambridge CB4 3DH

Sally – a drawing by Brenda Green

Early days

Clearing camp

Laughter with friends

Pole dancer

Kiln building

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During the period when I was both teaching, and maintaining limited practice in ceramics, I stayed in touch with developing my making skills mainly through throwing domestic ware – what Isobel called keeping fit without wearing trainers! When my college teaching ended I was at a bit of a loss as to the direction of my personal work. I had developed diverse knowledge and making skills, but how to put these to use while focusing on what had meaning for me was a different matter. I had begun to combine my interest in the written word and clay by throwing large ‘stones’ and lettering on them. Fortunately one of these was spotted at an AP exhibition at Emmanuel College and as a result I was invited to show work at the Museum of Classical Archaeology at Cambridge University. I say “fortunately” because it created the incentive and focus I needed, and as it turned out a new direction to my work.

Exhibiting work amongst Roman & Greek statues was, to say the least, daunting. I needed to make work that had relevance to the venue and also had impact. I wanted larger pieces than I could achieve by throwing: this is where the extruder came in. Disappointed with my previous experience of extruders, I had designed, with an engineer friend, more efficient manual and pneumatic models. This was an opportunity to see what they (and I) could achieve. I was keen that the technique should be just the starting point for further exploration. I found I was able to extrude hollow ��cm square sections about ��0cm in length. Joining the sections together allowed me to construct large slab standing stones, which again produced a surface to letter on. Due to an unforeseen interruption in production, this exploration was short lived. I scaled down and, having sold my treasured Fitzwilliam wheel, I decided to revisit the extruder as a potential tool for new work.One of the advantages of extruders

is that they are relatively easy to use and, unlike throwing, the skill level required to operate them is effectively fairly basic. Nevertheless, extruding clay can bring its own characteristics, and challenges. Learning about the importance of having the right clay in the right condition is proving vital to obtaining the desired result.If you are unaware of how extruders operate, they are like a larger version of a child’s play-dough machine. A barrel is filled with clay and a plunger forces the clay though a die plate fitted to a holder on the main frame. The die plates can produce hollow or solid sections. The die plate determines the shape of the extruded form. Most extruders are manually operated by a lever mechanism; others might be pneumatic or motorised in some way. Having worked in education, I recognised the extruder’s potential for use in schools and colleges; design-wise, this meant that it was necessary to take account of health and safety features and robust construction. Ease of operation and cleaning were also key factors. The potter Jim Robison, who uses extruded sections in his work, road tested our prototype to advise on any necessary changes before it went into production. More information is available on the web: www.clayextruder.co.ukThe cut-back in pottery courses nationwide has limited sales, but we were pleased that the Royal College of Art Pottery Department decided to invest in the pneumatic model. John Murphy and Jerry Finlayson have been putting

their engineering skills and brain power together to design an extruder that would be more useful to smaller-scale production. As you might expect, it has a slightly eccentric appearance, operated with a car jack and heavy duty springs, but I have seen and tried the prototype which functioned extremely well. See below John’s description of the development process and a photo of the completed extruder.Ray Auker

Easy-to-use extruder

Jerry and I have also taken a look at the challenges of building an extruder, but from a slightly different angle. After hearing several potters saying that extruders were hard to use, hard to load and hard to clean, we came up with a novel approach.To make our extruder easy to operate we have employed a powerful hydraulic jack. To make it easy to load, the piston is drawn out of the cylinder on an automatic return spring. The piston flips over and rests clear of the cylinder on the main beam and the complete cylinder and die assembly can be refilled while still in place. To make it easy to clean, and to change dies, the whole cylinder and die assembly can be released with a single lever clamp. With a cylinder bore of 6" (�50mm) it is easy to remove the clay and clean up. The cylinder itself is made from a strong and easily cleanable plastic material which will not contaminate the clay. It sounds like we will have a new toy to play with at camp. For me, exploring the potential of the extruder as a creative tool is still an adventure. My concepts are still emerging, but after a period of inactivity – it’s a great place to be.John Murphy

extrudiNg – beYoNd haNdles

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This is a step-by-step guide following the procedure that was used at Potters’ Camp. The Chief Drummer was Susan Cupitt, I drop her name here so that she can be inundated with questions and emails.At camp we use the good old metal oil drums that have about 5 or 6 air holes roughly equally spaced and carefully bashed in the side, about 6 up from the bottom of the drum. (Photo �)The writer of this article takes no responsibility for anyone who uses a plastic/polythene drum for this purpose but would request a copy of the subsequent photos for the magazine. Andy Wright

Preparing the potsYour pots, after bisque firing, are wrapped in strips of cloth (preferably linen) that have been soaked in a heavy brine solution and dried. At this stage you can experiment by wrapping other materials around your pots such as copper wire etc. (Photo �)

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step-bY-step: drum firiNg the wright waY

�) Cover the base of the drum with a 6 inch layer of sawdust. Don’t bother to squash it down and compact it, just heave it in and gently level it. (Photo 3).

�) Put your largest pots in and on the sawdust. The area of the pots that are inserted into the sawdust tend to come out black. Its quite nice to lay some pots at an angle.

3) Add some salt onto the sawdust. (Photo 4)

4) Sprinkle copper carbonate over everything. (Photo 5)

5) Add another layer of pots and copper carbonate etc. until the drum is about one third full. (Photo 6)

6) Put a piece of newspaper over the last layer and then add balls of scrunched up newspaper. (Photos 7 & 8)

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7) Add kindling wood. (Photo 9) 8) Add slightly larger pieces of wood. (Photo �0)

9) Ignite the paper and as the fire takes hold add more larger pieces of wood. (Photos �� & ��)

10) The aim is to stoke the fire to get the flames to the top of the drum. This raging fire should be maintained for about an hour so you need a good supply of wood handy. (Photo �3).

��) Now cover the drum with a metal lid and leave over night until cool. ��) Unload (Photo �4) and wash your amazing pieces of priceless pottery before flogging them off for a vast profit. (Photo 15)

�3) Photo �6... one nice pot.

�4) Don’t worry about any smoke......there isn’t any (Photo 17) !

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At the AGM in May �0�3, we agreed to embark on a new website development, updating the gallery pages, and adding news items and payment facilities, with a new ‘look and feel’. The committee also felt that it would be good to integrate the membership management, allowing members to update their own details, pay subscriptions online, and for new members to join online.It took rather longer than we had hoped, due to all the usual (as always unexpected!) circumstances. We started testing the site in the late summer, and went live in October. The design work was carried out by Plexus Media, who are based in Cromarty (a long way away). It’s been very easy to work with them, and they generally respond to any queries or problems the same day, so distance hasn’t been an issue.The new site has been set up with a lot of capability – members can log in and verify and change their details, set up a gallery page with pictures and text about their practice, contact details and even a map of their location (if it’s wanted). I’ve been posting news items regularly, about our meetings, events members are involved with, calls for entry for shows etc. I’m very happy to put news items on the site, so please send information, especially if you are involved with an exhibition, open studio or something similar, and I will see what I can do. We reserve the right to ignore anything rude, defamatory, or totally unrelated to ceramics! The members’ only section has info about the clay stores, events for

members only and a page where you can post items of news or questions. You can only get at this area if you login, which is very simple. If you haven’t got your password yet, just go to the Members section login, (picture A) look down the page to where it says claim your website account now (picture B), click on that line, find your name in the drop down list, click it and then follow the instructions. When you have logged in you can also download the instructions on how to set up your gallery entry (members set up instructions). Please do log in and join in. Over �00 members have managed it so far! Picture C shows my member’s page as an example of what yours might look like.Carolyn has been compiling a list of courses and classes run by members – this will appear in the Newsletter (see page ��), and will be added to the website, so if you are involved in teaching or workshops, this would be a good place to let everyone know about it.Having got the site up and running, we’re embarking on a second phase of development, to include the facility to book and pay for events. The initial

the New ap website

For further information and a list of all our short courses:email

Telephone 0844 4994408West Dean, Nr Chichester, West Sussex PO18 0QZ

IMPROVE YOUR SKILLS ON A CREATIVE RETREAT

A huge range of short courses for all abilities

www.westdean.org.uk/college

Virginia Scotchie

For further information and a list of all our short courses:Email

Telephone 0844 4994408West Dean, Nr Chichester, West Sussex PO18 0QZ

IMPROVE YOUR SKILLS ON A CREATIVE RETREAT

A huge range of short courses for all abilities

www.westdean.org.uk/college

Virginia Scotchie

release included the capability to pay subscriptions by PayPal, and this has worked out well, so we decided to extend this to pay for events. This will start with the day events, and we will see how it goes before trying anything else. You don’t need a PayPal account to pay, a credit or debit card will do. We will let you know when this is available.The site is intended to be a useful tool for us all – getting information around quickly and easily, as an archive of the Newsletters and past meetings, and helping us reduce the cost and time involved in managing such a large and widespread membership (now at nearly 400 active members). If there’s anything you would like to see on the site, or information you feel we should be sending out, please let us know. The site is linked directly to the Anglian Potters page on Facebook. Hopefully this will give another space for discussion, queries and general chat!John Masterton

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members’ websites:www.angelamellor.comwww.angliaclaysupplies.co.ukwww.anniehullceramics.co.ukwww.antontoddceramics.co.ukwww.artsculpt.co.ukwww.barrypratt.co.ukwww.brendagreenart.co.ukwww.brickhouseceramics.co.ukwww.cathydarcy.comwww.ceramicsbuyanja.co.ukwww.corbykilns.co.ukwww.christinepike.comwww.desaphilippi.comwww.getfiredup.orgwww.harveybradley.co.ukwww.heathergrahampotter.comwww.helenhpottery.co.uk www.helenmartino.co.ukwww.iangeorgeceramics.co.ukwww.ianvance.netwww.janehollidge.co.ukwww.jjvincent.comwww.johnmasterton.co.ukwww.judsonsinfrance.comwww.katharina.klug-art.comwww.katherinewinfrey.co.uk www.lydiacollings.co.ukwww.lolaswainpottery.comwww.madeincley.co.ukwww.maggygardiner.comwww.mariamcullumceramics.co.ukwww.markjudsonart.blogspot.comwww.nickysheales.co.ukwww.ozonelouise.comwww.potterycourses.com www.potterycourses.netwww.richardbaxter.comwww.robbibbyceramics.co.uk www.rockwellpottery.comwww.rowanhumberstone.co.ukwww.sandylarkman.co.ukwww.stephenmurfitt.co.uk www.susancupitt.co.ukwww.suffolkstoneware.co.ukwww.swaffhampotter.co.ukwww.telthepot.co.ukwww.waterloohouseporcelain.com

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

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Alex Watson’s seafaring rabbits at All Saints’

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17

New ClaY dump iN Cambridgeshire

I suspect we were all very happy when Richard Cranwell volunteered to take over the clay dump! The big move happened while I was away on holiday in October. Thankfully there were not too many bags to be moved as Susan van Valkenburg managed to sell off most of her stock before the move.The first new delivery of 360 bags of all sorts of clay was scheduled for �0 November �0�3. Peter Warren and I volunteered for the unloading and stacking work. We were both very impressed with the layout of the new clay dump. Richard’s brother-in-law is a farmer and he has very useful things on his farm! There were, for example, huge boxes in which some farm equipment had been delivered earlier that year. Richard got hold of those and built a fantastic storage facility for the clay. The layout he envisaged allowed enough space for the different sorts of clay to be well separated and easily accessible. The boxes are insulated with styrofoam and they have lids! The other great thing Richard’s brother-in-law has is a forklift (sorry Susan!). Just as well, as the big delivery truck can’t enter the drive! Peter and I were still sitting inside chatting to Richard’s wife while the pallets were unloaded from the truck with the forklift and appeared on the drive in front of the big boxes! The forklift was able to pick up each pallet and manoeuvre it over the space in which the clay was meant to go. All we had to do was to mark the bags, lift them off the hovering pallet and stack them neatly into place. It was all done within an hour or so.

I think I can say that we were all very happy that it went so smoothly, thanks to Richard’s superb preparation and his brother-in-law’s brilliant equipment!The new clay dump is in Hail Weston – follow the B645 off the A� and stay on the main road until you are just past the village of Hail Weston. Richard’s house is on the left hand side coming from the A� direction. I think I don’t have to ask you to make ample use of this fabulous facility!Anja Penger-Onyett

Cathy D’Arcy

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Thanks to all who provided a diverse and attractive range of ornaments for our Christmas tree for the exhibition at All Saints’. Sales were brisk and we raised a total of £452.70 for charity. This year Jackie asked Westcott House to nominate a charity and they suggested the money should be donated to L’Arche, a charity which supports people with learning disabilities in communities where people with and without disabilities share life together. For more details of their work please see www.larche.org.ukIt’s not too early to start filling those tiny unused spaces in the kiln with work for this year’s Christmas tree and if there is a special charity that you think we should support, why not let the Exhibition organisers know?Liz Chipchase

all saiNts’ ChurCh Christmas show

Amanda Chatt

Har

riet J

ames

John Masterton

Ian VanceTessa Wilson

Liz Chipchase

Martin George

Steven Garrett

Harriet James

Liz Chipchase

Juliet Gorman

Ange Leinster

Linda Luckin

Madelaine Murphy

Cynthia Byers

Chris Wright

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An experimental firing at Potters’ Camp in August last year led to a desire to take this method further. Research and a visit to feel the pots that Carolyn Postgate has in her collection and to hear of her experiments in her open fireplace have been very helpful. My experiments are by no means finished but an understanding of the technique is beginning to emerge and I hope to have a greater understanding of the method by Potters’ Camp �0�4, where hopefully we will be trying again to achieve some good results. One of the most striking ways to finish a burnished pot is simply to fire it black. The technique has been used most famously by Native American potters in the American South West. Essentially, to turn a pot black all a potter needs to do is to smother the fire when it is hot and prevent oxygen from reaching the pot before it cools. This process can take place in a kiln, oil drum or metal dustbin, or in an open bonfire (not so easy in our climate!).It became very clear at an early stage that it was essential to use red earthenware clay. The usual construction techniques can be used but the areas that required a high gloss/sheen needed to be burnished; unburnished areas produce a matt black; hence the name ‘black on black’. Basic shapes have been made and burnished to a high sheen; others have had a texture impressed (knowledge acquired at Liz Smith’s demo at Mundford) and then burnished; masking tape designs have been applied and the form burnished before the tape was removed; terra sigillata or baby oil applied and polished up, and finally, on thicker forms, designs carved out with the inserts textured or left plain and the top surface burnished. The firing of the ware can vary as greatly as the making. Some pots are bisque fired to a low temperature and others left in the green state. So far I have concentrated on using a low-fired bisque firing, mainly because of the weather. I have not ventured into firing greenware as I await good hot weather; however the pots have been made in preparation, and the dry cow dung stored. Let’s hope we have a good summer.The results of my experiments are as follows:

blaCk oN blaCk experimeNts

�. The basic form was made by impressing a pattern into the clay and then putting it over a mould. The excess pattern clay was used to create a stand and neck piece. The dish was burnished all over but the neck piece left matt. The pot was bisque fired to 900°C. Whilst it was still warm it was put into the fire grate and burnt with paper, a sheet at a time, until the desired blackness was achieved. When it was cold I applied wax. The result was pleasing, although there were areas of the red clay showing through, but I liked that variation. �. A vase form was made using thicker

clay to allow for the top half to be incised heavily with a design. The base of the vase was highly burnished. I decided to go down the route of a gunmetal reduction firing, using the raku firing process. The results were interesting but there were, in my eyes, various faults. All burnished areas disappeared, as they would do at a higher temperature, and some elements of the oak shavings I had used to plunge the pot into left behind some rough areas. 3. A combination of building techniques were used with patterned clay. Some accent patterns were added and the whole form burnished. After a low

bisque firing I put the vase into a tin dustbin with a lot of paper. I continued to ‘feed’ the fire until I achieve the depth of black that I wanted. The pot was cleaned up and, when dry, waxed. This I was pleased with, but it did take a lot of time feeding paper into the fire. 4. This vase was made with thicker clay

which allowed for very deep carved/incised areas. The space around the raised shapes was textured with dots. For this firing I placed my pot onto a wire rack over some kindling material. A tin, with holes punched into the base, was placed upside down over the vase. More kindling was added and set alight. An electric fan (carefully used) assisted in gaining a higher temperature as well as feeding the fire with further kindling. When I thought it had reached a good temperature I threw in damp sawdust to smother the flames and prevent oxygen getting near the vase. A lid was placed over the drum and left overnight. The result was interesting but not dark enough for my liking due to the fact that I had obviously not built up a high enough temperature. So I resorted to finishing the blackening with newspaper in a tin dustbin. Now I like it!!!Stored away I have a further �� pots which are unfired and ready for our hot summer days!!! I can’t wait, and will share my results with you. Juliet A Gorman

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a seleCtioN of eveNts arouNd the CouNtrY iN 2014Ceramic Art LondonApril 4-6CPA/Ceramic ReviewThe Royal College of Art, Kensington Gore, London SW7Open: �0am-6pm Fri-Sat, �0am-5pm Sunwww.ceramics.org.uk

Norfolk&Norwich Open StudiosMay 24-June 8www.nnopenstudios.org.uk

Suffolk Open StudiosWeekends in Junewww.suffolkopenstudios.co.uk

The Contemporary Craft FestivalJune 6-8Mill Marsh Park, Bovey Tracey, Devonwww.craftsatboveytracey.co.uk

Potfest ScotlandJune 6-8Scone Palace, PerthOpen: �0am-5pmwww.potfest.co.uk

Earth & FireJune 20-22Rufford Abbey Country Park, Ollerton, Newark, Nottinghamshire NG22 9DFOpen: �0am-5pm dailyTel: 01623 822944www3.nottinghamshire.gov.uk/enjoying/culture/arts/earth-and-fire

Harleston and Waveney Art TrailWeekends in July and Augustwww.hwat.org.uk

Cambridge Open StudiosWeekends in Julywww.camopenstudios.co.uk

Art in ClayJuly 4-6 Hatfield House, Hatfield, Hertfordshire Open: �0am-5.30pm Fri, Sat �0am-5pm Sunwww.artinclay.co.uk

Art in ActionJuly 17-20Waterperry House, Wheatley OX33 IJ� Open: �0am-5.30pmwww.artinaction.org.uk

Potfest in the Park July 25-27Hutton-in-the-Forest, Penrith, CumbriaOpen: �0am-5pmTel: 01768 483820www.potfest.co.uk

Potfest in the Pens August 1-3Skirsgill Auction Mart, Penrith, CumbriaOpen: �0am-5pmTel: 01768 483820www.potfest.co.uk

Anglian Potters’ CampAugust 6-10Shotley, Suffolk

Anglian Potters Summer ShowAugust 18-September 2 Emmanuel College, Cambridge

Art on the PromSeptember 7Felixstowe Promenade Open: �0am-4pmwww.artontheprom.org

Ickworth Park Wood SaleOctober 4-5Ickworth House, Bury St Edmunds, Suffolk IP29 5QEwww.nationaltrust.org.uk

Oxford Ceramics FestivalOctober 25-26St Edward’s School, Woodstock RoadOxford OX2 7NNOpen: �0am-6pm Sat, �0am-4.30pm Sunwww.oxfordceramicsfair.co.uk

Art, Craft and Design Show November 7-9Millennium Grandstand, Newmarket Open: �0am-5pm Fri, Sat, �0am-4pm Sun www.artcraftdesignshow.co.uk

AP Christmas ShowNovember 15-December 14All Saints’ Church, Jesus Lane, Cambridge

Art in Clay FestivalNovember 15-16Farnham Maltings, FarnhamOpen: �0am-5pm Sat, �0am-4.30pm Sunwww.artinclay.co.uk

THE LEADING FAIR FOR CONTEMPORARY CERAMICSFRIDAY 4 – SUNDAY 6 APRIL 2014Presented by the Craft Potters Associationat the Royal College of Art, Londonwww.ceramics.org.uk

Celebrating our 10th Anniversary, meet 80 leading makers exhibiting and selling their latest work

Enjoy an exciting programme of discussions and talks

Bowl by Dennis Coulden at the All Saints’ Exhibition

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potterY Courses ruN bY members

Many members of Anglian Potters teach pottery in different parts of our region. Below is a list of those who have emailed details of their classes. If you run courses and would like to be added to this list, email the Editor. For full contact details consult your current Anglian Potters Membership List or see members’ websites for further information on courses. This list will also be on our new website.

Phil ArthurPottery classes in Cawston Village Hall, North Norfolk on Tuesday evenings and Thurs afternoons. tel: 01603 279687 email: philarthur1951@btinternet.com

Deborah BaynesPottery courses in Shotley, Suffolk. Residential and non-residential weekends (Spring & Autumn) and full weeks (Jul-Aug). web: www.potterycourses.net

Rob BibbyPottery classes in Woodnewton, Oundle.Tuesday mornings & evenings. Also one-off courses for individuals or groups by arrangement. tel: 01780 470866 web: www.robbibbyceramics.co.uk

Mariam CullumPottery classes in Bury St Edmunds. web: www.mariamcullumceramics.co.uk

Susan CupittBasic one-to-one throwing, turning and glazing courses for beginners in Cambridge. email: susan.cupitt@gmail.com

Peter Cuthbertson Weekly courses for beginners and improvers in North Bedfordshire studio. Classes are small (max. four people) and tailored to suit student needs. Courses for groups of friends or family can be arranged as well. Three electric wheels and one kick wheel. Firings electric, gas and from time to time wood. tel: 07885 789102

Helen DixonPottery and sculpture classes now being organised in a newly established, dedicated clay classroom/workshop at Alby Craft Centre just outside Aylsham. tel: 07947 880163 email: angliaclaysupplies@gmail.com

Peter HardingBasic one-to-one sessions in throwing, turning and glazing in Botesdale, Suffolk. email: peterharding@ymail.com web: suffolkstoneware.co.uk

Annie HullThrowing and handbuilding �-hour workshops in Hinxworth, Herts. Up to 2 students with flexible course times. email: annie.hull@btinternet.com web: www.anniehullceramics.co.uk

Helen HumphreysEvening classes in term time at Cottenham Village College (Weds) and Hills Road Sixth Form College (Thurs). Contact Helen or the colleges for details.

Karen KavanaghRegular pottery classes on Wednesdays during term time and one-off workshops in Norwich city centre. email: hands-on-clay@hotmail.co.uk web: www.hands-on-clay.vpweb.co.uk

Bill KohlerPottery & sculpture courses and individual sessions in Royston, Herts. tel: 01763 209159 email: william.kohler@btinternet.com

Sandy LarkmanRegular courses during term time in Suffolk. Tues, Weds am, Tues eve, and one-off group classes. web: www.sandylarkman.co.uk

Sonia LewisCurrent throwing courses are fully booked. Email for details of future courses. The next day workshop on Firing Raku Tea Bowls and Tea Ceremony will be on Sunday 4 May in Prickwillow, near Ely. tel: 0�3536883�6 email: soniapotlewis@phonecoop.coop

Made in CleyOne-to-one pottery workshops in Cley, Norfolk. Email Rosalind on the Made in Cley website “f.o.a. Rosalind” to arrange a convenient date. web: www.madeincley.co.uk

John Masterton One-to-one throwing sessions. Working with porcelain, helping to develop throwing skills. Whole days (with lunch) or half days. Raku firing workshops, on demand, when the weather is good! Happy to run some glazing workshops (making and using high fired glazes). tel: 01279 723229 email: john@johnmasterton.co.uk web: johnmasterton.co.uk

Courses abroadAlan BaxterPottery workshops in the Pyrenees, France. Currently offering a 50% reduction to potters interested in an extended workshop experience, with further 5% reduction for Anglian Potters. web: www.potterycourses.com email: alanboocock@aol.com

Mark JudsonCeramics workshops in St Pierre de Maille, France. Individuals or small groups with accommodation. tel: 0033 549913096 web: www.chenevaux.blogspot.com and www.markjudsonart.blogspot.com

Murray Cheesman (above) and Chris Wright (below) at All Saints’

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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

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Billy& Alan�om Aylesford Po�ery

21st & 22nd March 2014

of POTTERY MAYHEM

Evening

An

of Pottery

Filled with laughs!

'Have-a-go' on the wheel

JOIN us fora night of POTTERY FUN! With skill and

laughter we show you the art of throwing &

making pottery!

YOUR TICKETfor an evening with Billy & Alan

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Which night :

Which night :. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Joi n us on:

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Name:

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ticket number:

www.aylesfordpottery.co.uk

Eveni ng star t t ime: 7 .30pmWhere?

The Nor th Barn - a 17th century Barn located i n the barns complex by the entrance to: The Fr iars, Aylesford, Kent . ME20 7BX.

(Plenty of car parki ng avai lable next to the barn) .

£15 per t icket

For more tickets - 01622 790796

A6 ticket leaflet

Longer leaflet

LIVE demonstrations Audience participationLicenced BAR

An

with

Billy& Alan�om Aylesford Po�ery

21st & 22nd March 2014

Evening of Pottery

Filled with laughs!

'Have-a-go' on the wheel

JOIN us fora night of POTTERY FUN! With skill and

laughter we show you the art of throwing &

making pottery!

£15 per t icketLIVE demonstrations Audience participation

Licenced BAR

An

with

TO BOOK - cal l 01622 790796

www.aylesfordpottery.co.uk

Eveni ng star t t ime: 7.30pmWhere? The Nor th Barn - a 17th century Barn

located i n the barns complex by the entrance to:The Fr iars, Aylesford, Kent . ME20 7BX.

(Plenty of car parki ng avai lable next to the barn) .

For more tickets - 01622 790796

STAMFORD POTTERY MARKET 4 & 5 MAY 11am-5pm

Once again the potters of the Stamford area will be displaying their work at a two-day ceramic market in the Georgian Ballroom at Stamford Arts Centre. Now

into its fourth year, this market is becoming an established event in the ceramic calendar and will include the work of quite a few AP members. There is free parking in the town, free admission to the event, ceramics displayed beneath sparkling chandeliers and the chance to sit back and watch a rolling film show of ceramic related films. So why not be adventurous and make an expedition up to the northern edge of our region?

Kath

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Win

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Pat A

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Tony

Orv

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Den

ise B

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Jane

San

ders

Rob

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Mar

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Lin

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Daw

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Sue M

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Used Kiln for SalePotterycrafts P5994 electric single phase toploader on

wheels. Internal width 64cm, ht 45cm £200 o.n.o.Contact Roger Phillippo 01223 870277 Delivery Possible

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diarY datesSasha Wardell 16 March, Mundfordwww.sashawardell.comAGM & Alan Foxley 18 May, Mundford Potters’ Camp6-10 August, ShotleyPatia Davis 14 September, Mundfordpatiapots.blogspot.co.ukSummer Show18 Aug-2 Sep, Emmanuel College, CambridgeChristmas Show15 Nov-14 Dec, All Saints’ Church, Cambridge

membership fees Single £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

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) £35.00

Copy dates:Spring Issue 1 FebruarySummer Issue 1 MayAutumn Issue 1 AugustWinter Issue 1 November

Copy:To be supplied as .jpg, .tif, .pdf Advertisements can be designed if text and pictures (minimum 300dpi) are provided. Printed in full colour.

Contact: Carolyn Postgate, Editore: carolyn@clara.co.uk t: 01954 211033

deadliNe for the summer Newsletter

1 May 2014for publiCatioN bY

1 June 2014

Slab Roller for SaleRoderveld Slab Roller

Bed Size 24”x48”£325

Contact Reta Vince t: 01760 337373mob: 07833 727147

Delivery Possible

Downsizing!Original Leach wheel with copper

tray: restoration project!Elderly horizontal pugmill

Podmore and Sons, Bore 50mm Length 1000mm

Sundry materials Contact Beryl Hines for details

t: 01473 735437

Three electric wheels, all older £60 each

Contact Peter Cuthbertson for details

mob: 07885 789102

Glaze materials on offerNepheline syenite 4kg 50p per kiloPotash felspar 50p / kiloQuartz 30p/ kiloDolomite 30p/ kgCornish stone 50p/kgFlint 50p/kg

Delivery to Mundford meeting, or buyer collect.

Contact June Gentle for details t: 01603 455614

Wheels for Sale