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www.anglianpotters.org.uk

Newsletter

wiNter 2013

In this issue:Matthew Blakely

Potters’ CampCraft Potters of Nigeria

An Anglian Potter in FranceSummer Show

Ickworth Step-by-Step Clay Dumps

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ChairmaN’s reportpotters’ CampThis year’s camp was once again a great success. I am sure that there was something for everyone, given the range of activities on offer. There were mixed results from the bonfire firings, concerns about the soda kiln during the firing, but many great results nonetheless.Peter Cuthbertson led the building of a new wood kiln with some professional builders’ help. I look forward to a good firing next year! Thanks again to all who contributed to a wonderful event.

emmaNuel summer exhibitioNThe Summer open show went well and was up to the usual high standard, with plenty of praise from the public. I was very pleased to see how well everyone pitched in at the setting up and the taking down. Special thanks to the ‘first timers’ who helped so willingly.We did make a loss overall and your Committee is giving this careful consideration. Our thanks go to Jackie Watson, Katharina Klug and Ian Vance for their leadership and hard work. As I write all plans are in hand for the All Saints’ Winter Exhibition.

iCkworth wood FairThose taking part in our show at Ickworth House had a very exciting time erecting the marquee on the very squally Friday afternoon but, thanks to John Murphy’s leadership, all ended well. Thanks to all who participated in creating such a high quality show for the public. Sales were varied and some probably made financial losses.

day eveNtsI am sorry that I missed the last two day events, due to family illnesses, but I understand that both were well supported and enjoyable.

Clay storesWe have a new clay store at Hail Weston, off the A� near St Neots. This is to replace the store that has been hosted by Susan van Valkenburg at Rampton for some years. I take this opportunity to thank Susan, on behalf of us all, for her willing and friendly hard work, in providing this most useful facility. Richard Cranwell, a very new member, is hosting this replacement store and I thank him for taking on this task. Thanks go to Deborah Baynes for her leading the transfer of stock, and to all the supporting team.Victor

Cover: Matthew Blakeley, dimple vase Photo: Carolyn Postgate

editor’s NotesIt has been so difficult to fit in all the material that has been sent to me for this issue of the Newsletter that I have expanded it to a full �8 pages.I hope you enjoy all the articles and the lavish collection of photographs from Potters’ Camp – it never ceases to amaze me that anyone has time for taking photographs, there is so much happening all the time!Thank you to everyone who has contributed to this Newsletter – keep up the good work!Carolyn

SEASONS GREETINGS TO ALL

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Page � Chairman’s Report|Editor’s Notes|CommitteePage � Summer Show at Emmanuel College, CambridgePage 4 Matthew Blakely at MundfordPage 8 An Anglian Potter in FrancePage �0 Summer Show at Emmanuel College photographs Page �� Ceramic HelplinePage �� Potters’ CampPage �8 Craft Potters of Nigeria �996-�0��Page �� The Great Cambridge Clay Dump Move|AP Clay Stores Page �� Step-by-Step: Footed Pots without Turning Page �� Members’ WebsitesPage �4 Observations from Ickworth Park Wood FairPage �7 Member’s ShowsPage �8 For Sale|Diary Dates|Membership Fees|Advertising Rates

CoNteNts

aNgliaN potters Newsletter wiNter 2013

summer show at emmaNuel College, CambridgeThe summer show at Emmanuel opened to a huge crowd at the evening Private View on �9 August. It was a great opportunity for ceramics enthusiasts to meet the potters – purchases are always made more meaningful when you can talk to the maker. As usual, sales were brisk and the display was much admired. I was unable to get to the Private View myself, so my first opportunity to see the show was my invigilation day. I was really pleased to see work from many new members and new work from long-standing members. I took some photographs of the work which caught my eye, which you will find on page 10.Carolyn Postgate

Liesel Lawrence at Emmanuel College

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matthew blakely at muNdFordWe were treated to a wonderful day with Matthew Blakely, who started the day with the customary slideshow showing some work he has been making for a while in porcelain and reduction gas firing, but also some exciting new work developed after he built a new wood kiln in his back garden.Matthew was born in the UK but lived in Australia for �4 years before returning to settle in Cambridgeshire in �00�. In Australia he was working with a short salt-fired (2 days) wood kiln. Back in the UK he found it more difficult to find wood, so initially moved to gas firing. Generally his work was not glazed, only some with a shino or celadon glaze. He explained his interest in surface depth and how he developed a clay body which was a dirty porcelain, a darker body, to which he added porcelain slip and celadon glaze, so instead of using the original material, which had been mined and purified, he would take the purified material and add impurities to create the effects he was looking for. This led to the idea for a project that was to take this further…In �0�0 he obtained a grant from the Arts Council to develop the idea of making pots from materials collected around the country to reflect the geology of each place. His aim was to create another way of looking at the land on which we live by making ceramic pieces that are entirely created from rocks and minerals collected from individual locations. Each piece thus made therefore becomes a

ceramic illustration of the geological character of that place. The materials used are unrefined, impure and therefore unpredictable, hence full of possibility.In each location identified (Dartmoor, Edinburgh, Eskdale, Leicester, Dumfries and Galloway, Malvern Hills and Cambridge) rocks were collected, sometimes not without difficulty, both bureaucratic (obtaining permission to collect rocks on land owned by Prince Charles apparently is not straightforward!) and logistical. They were then crushed with mortar and pestle until they were in pieces smaller than �mm, then put in a ball mill and rotated for about � hours, until the powder could be sieved through ��0 mesh. Several tests were made to try out possibilities. These rocks had to be used as elements of glazes, and where possible clay was dug to create the body of these new pieces. This means that Matthew’s new work is entirely traceable to a definite point on the map, the outcome of a labour of love, and unique. All initial tests were done in a small gas kiln, and everything in this project is so valuable to him, given the difficulties in obtaining the materials, that he’s learned to be a lot less wasteful and more careful, scraping hands, recycling little bits, etc! We ended the morning with a much clearer idea of the difficulties behind Matthew’s project, and an understanding of how steep his learning curve must have been in learning to distinguish the various rocks and geology of the areas he visited. In the afternoon, he treated us to a very interesting demonstration of his throwing techniques, which he has developed over the last �0 years, although the pots he produces now are very different from the raw-glazed, salt-fired pots he used to make in Australia! (Most of his glazes now have no clay in them at all, so it would be impossible to raw glaze.) First he demonstrated the technique

he uses for his ‘wavy rim’ forms: after opening up a thick doughnut, and throwing it about half way up, with walls still quite thick, he squeezes the rim to get the waves, then continues to throw, which smoothes the waves somewhat. He also leaves the rim a bit thicker, as the glaze tends to pool at the bottom, and this equalises the thickness of the sides. Next it was the turn of the ‘ragged’ bowl. This tries to create a gestural, interesting texture without damaging the functionality of the pot. In a way it constitutes a combination of throwing and hand building (although Matthew confesses that he dislikes handbuilding, and even now, with the complication of made up clays which are not always ideal to throw with, he overcomes plasticity problems by throwing in sections). Mathew threw a cylinder, leaving it quite thick, and inserted a former wrapped in newspaper to support the cylinder while he used his finger to pull the clay diagonally, from the rim going down in overlapping layers towards the bottom. to create random indentations. After this he proceeded to throw it some more, from the inside only, stretching the cylinder into a bowl form. For his lidded ‘ragged’ forms he makes a gallery by adding a coil and throwing it in later on. Matthew uses lots of stamps which he makes from low-fired porcelain or carved plaster (which he keeps soaking wet so that they don’t stick to the wet porcelain. Matthew told us he keeps a book with all the weights of all his forms, and weighs everything he throws.

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He went on to making a plate (2.5kg). He prefers not to turn so keeps everything neat and thin. Using porcelain, Matthew stressed how important it is to compress as you throw, to make sure the base of the dish does not warp or crack. He uses first a wooden, then a plastic rib, then stamps the dish with a massaging motion which stretches the clay slightly and also creates a slightly undulating rim. This is done without planning or marking out where to stamp, just following ideas in his head. After VERY CAREFULLY cutting off, Matthew prepared some moulded feet for the dish. He put a little ball of clay in the dry plaster mould, leaving clay slightly proud, then lightly wet and stuck each foot on the bat to dry. Matthew was very, very generous with the information he shared with us and left us inspired… but, by his own admission, it seems that the project he has started is pure madness, and what’s more, it has no end in sight, so watch his webpage for future developments! www.matthewblackely.co.ukRobi Bateman

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local ‘gallery’ in our village for three years now but sales are not great. The mix of items is eclectic and includes everything from artisan food products to clothes to ceramic items, so from my perspective it acts more as a prompt to encourage visitors to my studio. When this happens I invariably do a small demonstration and the interest and sales are encouraging. We have also hosted several groups, organised through the local tourist office, offering refreshments, a demonstration and the opportunity to ‘have a go’, which were very well received. Craft fairs are an entirely hit-and-miss exercise, although they are generally not expensive to participate in. I was recently invited to exhibit at a nearby town called St Savin, which was worthwhile. One of our local villages has a beautiful exhibition space in the middle of the small shopping area, which I am about to use for a solo exhibition for the second time, and I have also exhibited in a lovely chapel in our village. My studio and gallery are housed in our old stables where the feeding troughs are used as damp cupboards! The ground floor has been converted into my pottery studio and kiln room and upstairs there is a beautiful light and airy painting studio. As well as doing my own work we now offer bespoke pottery and art holidays and also weekly classes, which are very well attended. With the luxury of my own studio I have started to produce more expressive work. This combines the ideas, techniques and materials I have developed over the �0 years I have worked with ceramics. I often use different clays as a foundation, into which I may impress a variety of found objects to create a richly-textured surface pattern. This may be decorated

In August �00� we moved permanently to our new property in France – Chenevaux. After a few months I started thinking about setting up my studio. It was at this point that we discovered, to my delight, that there was a seam of pure clay on our land. As none of the studio equipment had even been ordered, let alone installed, I set out to find a friendly fellow potter locally. Having visited a few people within a radius of �0 km or so and found that they weren’t at all receptive, in fact they were rather suspicious, I finally came across a very knowledgeable and interested chap, Michel, at our nearby village of Angles sur l’Anglin. He had a small kiln and not only agreed to fire a small test piece made from our own clay, but also gave me a bag of the clay he was using. We discovered that the Chenevaux clay fires to a warm brown and is optimum at ���0°C. I now use this to decorate stoneware pieces ‘Ewan Henderson’ style. Michel also informed me that the two main suppliers of clay, glazes and all of the other essentials for ceramics were Solargil and Ceradel, the nearest to us being Ceradel at Limoges, which is where I now buy my materials. My next quest was to find a kiln, wheel and pugmill. I had brought a gas kiln with me from England but my preference is for an oxidised firing in an electric kiln. The price of new equipment was far beyond my means and sources of second-hand equipment were sparse. So I decided to contact one of the suppliers I had used whilst teaching and placed an order for a Cromartie front-loading kiln. We already had a three-phase electricity

supply, so this was cabled from the house to the studio, a distance of approximately �0m. Delivery of the kiln having been arranged, I sat back and thought about all of the projects that I had been keeping on hold for what seemed like a lifetime and luxuriated in a dream world for a day or so, until we had a panicky phone call from the courier asking if I knew how much the kiln weighed! He and his co-driver had virtually to go on a jockey’s pre-race diet to get over the weighbridge, and, he asked, how were we going to unload it at this end? We brushed his comments aside and were still convinced that four strong men could lift it off the van! When he arrived the reality hit me, and after a few minutes I asked Caroline to phone our local farmer for help. Luck was on our side, he was out on his tractor and within ten minutes he arrived and lifted it off using the forks. It was then another morning’s work to manhandle it into the area that was going to be the kiln room! At one of the village events I was formally introduced to one of our local councillors (he is also a volunteer fireman and came to our house when we set the chimney on fire but that is another story). Anyway, it turned out that he works at a local enterprise that processes porcelain. A few weeks later he arrived at Chenevaux in his van with a whole bag of freshly pugged porcelain for me! This proved to be very good quality, firing well at ���0°C. I have used it successfully for slab-work. One of the disadvantages of living in such a rural area is that appreciation of art is patchy. I have been exhibiting at a

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by spraying, pouring, painting and/or flicking on glazes, oxides, wax resist, sand and glass before being fired to stoneware temperatures. Most of this work is slab built. My work is influenced by the local landscape here and from my time in Yorkshire and Cambridgeshire by the work of Peter Voulkos and Ewan Henderson and it has undertones of the Wabi-sabi theology of Japanese ceramics.I continue to throw more traditional pottery on the wheel for a more functional market and I enjoy slip-casting small vessels and sculptures that add to the variety of pieces that I sell.I use Ceradel clay St Amand en Puisaye GT�00P for wheel-work and GT�00X and local porcelain for slab-work, fired from ���0°C-��80°C in an electric kiln.I also use Potterycrafts P��0� Porcelain slip fired to the above for slip-casting and P��0� for slip-casting white earthenware to �0�0°C again in an electric kiln.I use a variety of glazes some of which are old favourites purchased from Potclays and Potterycrafts (or Ceradel as it trades as here) with my own additions to create a unique effect. It is a fantastic feeling to be free to live and work as a practicing artist at long last.Mark JudsonMark Judson taught ceramics in British schools for �4 years, �0 as Director of Art at the Perse School in Cambridge. He now runs art holidays in ceramics and painting in the Vienne, France. www.markjudsonart.blogspot.com judsonsinfrance@wanadoo.fr

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summer show, emmaNuel CollegePenelope Hayes Mary Wyatt: bird

surprised by a visiting butterfly

Victor Knibbs: raku from potters’ camp

Jackie WatsonJudith Coombes

Joy Voisey

JJ Vincent

Susan Cupitt: smoke-fired at potters’ camp

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Being a bit under par health-wise this year I only attended camp on a part-time basis, so my feedback on the event is somewhat limited. However I was around for the set up, erecting the marquees, ably guided by Andy Wright (this time requiring only the odd interjection from Jerry). The kitchen had already seen intensive action by the usual team, ready now for the installation of fridges and freezers. Linda Luckin valiantly prepared the loos ready for the onslaught, cheerful in her approach to the task. John and Irene had been on site over a period of time occupied in various tasks to ensure all would be ready for camp’s main arrival on Wednesday. On Wednesday I turned up in time to join in on the prep. talk by Sally, outlining all we needed to know about camp facilities, health and safety and events over the four days. Sally also does a fantastic job in registration and informing new members about what can be expected. I realise there is a whole raft of other helpers involved in preparing for such a successful event, too many to name them all as it would take up most of the page, but thanks to you all.I know for most of us camp creates an opportunity to fire pots and experience the ordeal of the flame. Maybe in reduction, smoke, soda, salt or raku firing our pots can take on new and exciting dimensions, quite different to our more commonly-used electric kilns. But it is not just the firing aspect, it also broadens our knowledge and skills by watching skilled practitioners, like Colin Saunders mould-making, Jerry demonstrating the use of the jigger and jolly machine making plates to decorate, Irene introducing us to glass, Geoff Lee to decal making, Madelaine Murphy &

potters’ Camp at shotley, 2013

Murray Cheesman teaching throwing and handle-making. I visited Lois Thirkettle recently to be proudly shown the mugs she had made with pulled handles like the ones Madelaine had demonstrated at camp. To my mind it is this sharing of knowledge – whether kiln firings or making methods – that camp provides as a unique, conducive, social/learning experience; one not to be missed.Being a bit of a foodie, I was determined not to miss out on the on the Saturday night social, as ever quite a feast, accompanied this time by the sweet tones of local musicians Dragonfruit.Jerry denies virtually any involvement in the organisation of camp, but I think we all know better. So the final thanks need to go to him for hosting camp, sharing his home with 70 mucky potters and not caring too much!Ray Auker

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Opposite: preparations, kiln building This page: various workshops; raw glazing workshop at Usch Spettigue’s studio; raku in action

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Some thoughts from the campers:Firstly thank you so much for your amazing organisational skills regarding this year’s potters’ camp. I cannot tell you how much I enjoyed it. I have learnt so much and feel very relaxed (even though it was the most hectic few days) but I feel I have achieved lots and had lots of fun and laughter as well. It is an amazing opportunity to spend time with so many brilliant, like-minded, generous people. Hopefully I will be lucky enough to achieve a place next year too... I can hardly wait!Libbi HutchenceCamp number � for me: if anything better than last year. Some dangerously delicious food, lots of interesting techniques to pick up on, and a demo more or less survived (though I generally try to confine talking to myself to when I am alone these days!). Mostly just the joy of newish friendships maturing, picking up with older ones again, and making some fresh and hopefully enduring ones. If the flippancy seems relentless, how else to deal with this so, so difficult business of potting, where if the pot makes it through the kiln with a happy glaze, � or � days down the line one sees all the faults with the form, or the definitive jug comes out with a large blemish... Should it matter? Probably not, but at worst I suppose potting is a fairly harmless outlet for OCD. This time there was the unexpected delight, having put all my eggs in the soda kiln and being forewarned of likely dire outcome, of coming home with four pots I am inordinately pleased with, including a new favourite mug. Perhaps a little poem of the �7th C. says it all, “No handicraft can with the potter’s art compare, we make our pots of what we potters are.” So thank you, and can I come and blow up some more kilns next year please? Murray Cheesman

I just wanted to say thank you to the Potters’ Camp organising committee and also to Jerry for putting up with us all. Once again, the event proved to be an amazing experience, with everyone extremely friendly and generous with their time and knowledge. There was so much going on that it’s hard to pick out highlights, but I did particularly enjoy Madelaine’s talk on making handles and her suggestion that we might consider the handle design before we make the pot; something I look forward to putting into practice. I was also grateful to Geoff for giving us the opportunity to try printing photographic images onto tiles which produced some varied and interesting results. I guess you all must be exhausted now but thank you once again for another wonderful camp.Carol Allison Once again many, many thanks for a great potters’ camp. It’s the best week of the year for me! Cathy D’ArcyWe have been dreaming potters’ camp and I only settled down last night. One morning I woke up and thought I was on a bed in one of the tents!All I can say is THANK YOU again. Juliet GormanJust to say what a great camp it was this year! Not having been last year I was touched by the great welcome from so many AP campers! Though I confess to taking it easy, I so much enjoyed what I did do! Thanks so much, to all the people involved, for all the hard work all year, which it takes to make Anglian Potters’ Camp such an amazing five days!Marie ThompsonThis page: relaxing in the August sunshine; some products of the kilns. Opposite page: round the camp fire; firing micaceous and black burnished pots with varying success; smoke firing in dustbins.

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Here is a selection from the many photographs which sum up the essence of camp: hard work, excitement, wonder, good food, good company, smoke, fire, and, above all, fun!Thanks go to photographers Andy Wright, Carol Alison, Chris Hartley-Wiley, Desa Philippi, Eileen Murphy, Juliet Gorman, Carol Page, Liz Lewis, Peter Spital, Ruth Bowman, Sally Macpherson, Sue Knight, Susan Holmes, Sanya Morris, Harvey Bradley and Susan Van Valkenberg.

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improvements throughout and included visits to Jacaranda Pottery where the members saw a modern pottery using local materials. There was a visit to the historic Michael Cardew Pottery in Suleja, sadly found to be in a dilapidated state; however, many of his faithful potters remained, nostalgic about the lack of government support.With the track record of the preceding �0 years we applied for and successfully secured funding from the National Lottery over three years. In December 1999 we rented office accommodation in Kaduna, appointed a Project Manager and Office administrator. From here the newsletter could be produced and siting for a Resource Centre could be sought. In February �000 I travelled north to meet two of our CPAN members and to discuss possible future plans with the Emir of Kano. One week after my return to UK the Kaduna riots erupted.

The first National Ceramics Exhibition held in the hall of the British Council in Kaduna, Northern Nigeria in �996 was a great success. Most of the ��0 potters from all corners of this vast country stayed throughout the week, the atmosphere was jubilant. This was what they had asked for, somewhere to show their work. As there was no selection or entry fee we were pleased to see self-selection happening. The potters were eager for knowledge and discussion groups were formed. The majority of contemporary potters are Fine Arts students who specialized in ceramics and are unable to find related work. All have studied in the English language, whereas the traditional potters speak primarily their area language. A meeting was held on the final day and it was then that the Craft Potters Association of Nigeria (CPAN) was formed.Arriving home to Cambridge after the exhibition and the formation of CPAN was a sobering occasion. For �0 years Tony Ogogo, Ben Drew and I had worked towards bring together contemporary potters. This had been achieved and we had been made Life Patrons, a lofty title indeed – but now, how to proceed? Margaret Mama of the Jacaranda Pottery in Kaduna helped us to link up with ministry officials, and also gave accommodation when we needed.A constitution was required; Michael Casson advised us and one was duly completed that was accepted by the Nigerian committee. Funding from the British Council enabled us to produce a professional, glossy, coloured newsletter showing pots, potters and happenings of the exhibition plus a glowing critique and promise of the hall for �997.Pots entered for the second year were noticeably more refined than before. Attention had been made to finishing and groups of related pots appeared. The British Council suggested that we consider entering ceramics for the SCOTLAND AFRICA ’97 to be held in Livingstone near Glasgow. Pots from 3 potteries (Jacaranda and Maraba from Kaduna and Al Habib from Minna) plus works from 8 potters and some traditional works were air freighted to the UK. Again the exhibition was a resounding success.Exhibitions of ’98 and ’99 saw great

CraFt potters oF Nigeria 1996-2013

Many hundreds were killed and whole areas of the city burnt. Our office in Margaret’s compound was torched, so too was her house. (She and her husband escaped by night and now live in the UK; Jacaranda Pottery is not the same.) The �000 exhibition was cancelled and many potters fled south. Dismayed, yet resolved to continue we cancelled the National Lottery funding until suitable accommodation could be found. By way of the Nigerian High Commission in London and the Lagos State Senator Tinabu, we established a partnership with the Lagos State museum that offered an office and annual exhibition space. Planning for �00� began. However, the northern, mainly Moslem potters were apprehensive about travelling the 800-plus km to the mainly Christian south. Conversely the new venue encouraged more potters from the southern states.Workshops, lectures, demonstrations and a raku firing were a revelation and membership of CPAN grew rapidly. A visit to Badagry on the outskirts of Lagos to see a UNIDO-funded pottery was planned. Custom dictated that we were to be received by the King of Badagry before entering his kingdom. Badagry is on the coast and looking out to sea can be seen an island called “the point of no return” from where the slaves were deported. The annual exhibitions continued. I handed over the editorial duties to a lecturer of Ceramics

The Emir of Kano

Maraba Pottery from the 2001 Exhibition.

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from Nsukka University. Tony opened a small shop in Lagos selling reconditioned kilns, wheels and materials; it was run by potters. The CPAN committee arranged an exchange visit with potters from Denmark.The political uncertainty and corruption of successive regimes have interrupted the advancement of CPAN. In the northern states the emergence of the terrorist group Boko Haram which literally means ‘No to Western Education’ has deterred movement between the different regions. The ongoing petroleum disputes in the Delta area are making life even more difficult for Nigerians. For expatriates, a visit to Nigeria has become increasingly fraught, as travel insurance to cover certain areas is refused and transport within the country is dangerous. CPAN still exists but in small area groups. Hopefully there will come a day when peace prevails and potters of Nigeria will once again unite.As I was writing this article I learnt of the untimely death of Tony Ogogo at the age of 6�. Heritage Ceramics, which has Charity status, was the first black pottery in the UK, of which Tony was very proud. He held a strong conviction that, when able, it was our duty to help those more in need than ourselves. Tony was a member of Anglian Potters before I met

him in �987.Joy VoiseyI have many traditional and contemporary Nigerian pots plus hundreds of photos showing the exhibitions and various firing methods in the villages. Please contact me if you are interested: joy.voisey@btinternet.com

The King of Badagry with his 3 wives. 2001 CPAN Committee members: Tony Ogogo (2nd from left), Joy Voisey (3rd from right).

1998 Exhibition: Traditional Pots. Danlemi from Al Habib Pottery demonstrates how water pots are carried.

Female Circumcision Pots. Below left: 1997 Exhibition – Traditional; Below right: 2002 Exhibition – Contemporary. The small pots at the top are for the instruments.

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�7 October dawned bright and very breezy. At least we had an extra hour in bed due to the clocks going back, and our happy band of volunteers arrived in good time at Rampton.The clay pile was much smaller than only a few days earlier, as Susan had successfully encouraged members to take more clay than usual, so that we had less to shift. However, to ensure that we had a selection of clays available for the new site, a ton was already loaded by Deborah and husband Ed into the trailer from Shotley. The remaining bags at Susan’s were soon loaded too. What took time and energy was loading all the pallets that the clay had stood on plus tarpaulins and a kiln (as you do) to go back to Jerry’s for Potters’ Camp use.So, by around ��am we were all set to head for St Neots and arrived around 4� minutes later to find our second team of helpers, plus our Chairman Victor Knibbs, all set to unload and assist.Richard Cranwell, our new Clay Dump host has made an amazingly well thought out and organised area for the clay. Members will be able to drive in and load straight into their cars with minimal carrying. Unloading the clay at its new home was really simple and everything was off and in place by lunchtime. Very many thanks are due to Susan van Valkenburg for running the clay dump so well for several years, plus her help on the day and laying on coffee and bics too. Also may thanks to all the volunteers who came along to Rampton and Hail Weston and enabled the transfer to go without a hitch. Last, but absolutely not least, big thanks to Richard and his wife who have taken on the Dump and nobly sacrificed quite a chunk of their pretty front garden too! Although the new venue is further west, members should find it easy to access as Hail Weston is just off the A�, near St Neots.Deborah BaynesPhotos: Susan van Valkenberg

the great Cambridge Clay dump move

The clay sleeps under its tarpaulins, unaware of the adventure ahead!

Loading the pallets

On the road at last!

Last pallet on the trailer

Essential supplies!

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step-by-step: Footed pots without turNiNg

�. A basic shape is thrown, the width of the base measured, and put to one side.

Here is a method of making pots with a hollow foot without the need to turn in the usual way – I have been using it for about �� years. Basically it consists of throwing a form, putting it to one side, throwing a ring of clay which becomes the foot, and immediately re-positioning the freshly thrown form on the ring, before final adjustment of the shape, if necessary. The surprise for me was that, as long as the body of the pot is reasonably centred on the foot, and firmly seated, there is a natural tendency for it to ‘true’ itself up as one re-throws it. A couple of points: I pick some wheelhead slurry up on a finger and run it onto the roughened foot ring – this provides a good weld, and also allows a certain amount of adjustment of the pot’s positioning; if one can provide some gentle but firm pressure on the join from above, i.e. inside for hollow forms, this helps.It may seem like an unnecessarily complex, gimmicky technique; it has the virtue of allowing forms with irregular tops, such as jug lips, and bowls with crimped rims, to be made without the need to invert them on the wheelhead, thus risking damaging them, or to have numerous chucks made. The major advantage for me is that one can assess the completed external form as it will remain, without having to work and judge it upside down.Murray Cheesman

�. A ring of clay is thrown and measured, the top grooved and slurry from the wheelhead is run onto the top surface.

�. The main body of the pot is immediately re-positioned on the ring (foot) as accurately as possible.

4. Gentle but firm pressure is applied to the join; for bowls a rib can be used; for hollow forms use fingers inside.

�. The outside is tidied up, and some trimming to cut down on weight may be useful.

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Examples of Murray’s work using this technique.

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.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.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.

camp pots

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This was not King Lear on the heath as I arrived at Ickworth on Friday lunchtime, but Anton, who had towed the marquee from Shotley and was sitting alone under a sky of scudding clouds, as if tempting an impending gale to come and do its worst and then go and bother somebody else.Two marquees had blown down and, within twenty yards of us, as we watched, a partly-erected gazebo came crashing down causing some injury to the lady builder still inside. The National Trust ‘police’ advised against putting our huge marquee up that afternoon but, after waiting until the wind had dropped considerably, and with two dozen deck hands under John’s expert captaincy, the task was completed safely.The Wood Fair is set in the glorious parkland surroundings of Ickworth House, and attracts vast audiences over two days, to take part in a celebration of creations in wood. Visitors can admire the huge steam engine driving the enormous circular saw cutting trees into planks, or purchase tools, or buy anything from a garden chair to a beautifully turned fountain pen and, if that is not enough, Anglian Potters put on a show par excellence.Ickworth Wood Fair is a ‘whole family’-orientated event for mums and dads, the kids and their dogs, – there are more dogs at Ickworth than one might see at Crufts. The dogs, extremely well behaved dogs, are represented in every shape,

observatioNs From iCkworth park wood FairBlow, winds, and crack your cheeks! Rage! Blow!You cataracts and hurricanes, spoutTill you have drench’d our steeples, drown’d the cocks!

size and hue imaginable. This is quite the Wallace and Gromit Grand Day Out.Anglian Potters presented the public, as always, with a huge array of clay work and it was pleasing to see a few new members exhibiting on this occasion. Raku people were busy firing, reducing, cleaning and then selling their wares whilst, for the impatient punters, a microwave rauku-ist was on hand to speed up the process.By 8am on Saturday, with the weather forecast good and the promise of even better things to come, eighteen potters inside the tent and five groups working in satellite positions outside were ready for the arrival of the punters. On the outside Gill and Cathy had decided to ‘go it alone’; Rob Rutterford, complete with striped apron and battered straw hat, spent the weekend entertaining children who appeared to be spellbound by being able to model rabbits and a vast array of

other creatures from clay. Potters, I have found, are a lovely group of people and Rob is an example of somebody who gives up his time for this event, with no payment involved, just to make the occasion a better one for kids. Raku ‘jewellers’ and raku makers along with Liz Schwier’s marathon throwing demonstration and tuition sessions made up the outside crew whilst inside the tent, a large variety of work and demonstrations attracted a constant stream of possible customers. There was a great deal of interest with the very patient canines sitting quietly whilst their owners asked technical questions about their possible purchases. The pots on sale were functional, sculptural, decorative, and, certainly, imaginative. There were pots to eat from and pots to stick on walls, pots for the garden and pots to wear and there were money spiders everywhere.Victor Knibbs showed some exquisite, very precisely cut slab pots along with his smaller high gloss pots and Susan Cupitt displayed very well-made pieces, including a teapot with a beautiful glaze which I found to be utterly compelling: a satin, semi-matt in a colour I can only describe as ‘sea-grey’. In the centre of Susan’s table was a sign which read ‘PLEASE TOUCH’. Susan and Victor are veteran Anglian Potters and their pots are always a joy to look at and to hold but, this year, there was a balance made by the inclusion of relatively new members: the bold shapes and bottles by Adam Marsh for example, and the delicate work of Petra Wright together with the beautiful sculptural forms by Tessa Wilson.

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There were several observations which will remain with me for a long time. The first was my explaining to a family why I made piggy banks. In short, I used them as an introduction to ceramics for my year seven pupils at the school in which I taught in Stevenage. When I had finished the explanation, a voice from the back of the knot of onlookers said, “And I’ve still got my piggy at home, Mr Warren.” There was evidence that Anglian Potters have taken to frequenting IKEA stores for their display units and lighting requirements and there was the sight of Mariam threading her very special blends of brightly coloured apparel amongst the throngs of visitors.At the end of the Sunday session, a lovely lady from the Ickworth House team came to thank Anglian Potters for the wonderful contribution they had made to the success of the Wood Fair. The lady was the National Trust personified, complete with tweed jacket and skirt and a hat to match. She addressed Anton Todd because she was told that the person in charge was an old man with a beard. “It’s not me you want,” said Anton, not a little put out by the ‘old’ slur. “It’s my dad, Harvey, you want to talk to and he’s down the other end.”My favourite observation, however, really touched me. A lady, who shall remain nameless, put on a ceramic necklace. Her husband saw it and said: “That’s really nice. It really suits you. It’s brought out all your colour. You look absolutely lovely.” And, of course, she did. I wanted to rush home and present my wife with a bunch of flowers. Romance certainly is not dead.The fair ended at �pm on Sunday evening and the site was cleared and the marquee dropped and packed away within the hour. Potters packed away their wares and set off in their various directions with memories of a very enjoyable weekend.Thanks to Harvey and Barbara for organising the event and, next year, I understand, the erection of the marquee is to be followed by a black tie, and wellies, dinner on the field, if fine, or in the marquee if not.Peter Warren, Photos: Harvey Bradley

Rob Rutterford with his gang of model-makers

Peter Deans demonstrates to a rapt audience

Anton ‘King Lear’ Todd demonstratesVictor KnibbsRaku

�6

Kilns for ceramics New and second-hand equipment

Kilns and furnaces serviced and repairedPotters 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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CRAFTS NOVEMBER | DECEMBER 2013 145

GALLERY

CRAFTS NOVEMBER | DECEMBER 2013 145

Open Studio weekends: Nov 30/Dec 1st; 7t/8; 14/15 DecOpen 10.30am -5pm and by appointment at other times.

www.angelamellor.com

Image: Angela Mellor, ‘Forest Light’, bone china vessel, Oil paintings by Mary Romer

Jewellery and Christmas decorations

A N G E L A M E L L O R

GALLERY

Nicky Sheales at Emmanuel College, Cambridge

�8

diary datesAP Christmas Show:16 November-15 DecemberAll Saints’ Church, Cambridge

2014Eddie Curtis 9 February, Mundfordwww.eddiecurtis.com Sasha Wardell 16 March Mundfordwww.sashawardell.comAGM & Alan Foxley 18 May Mundford Potters’ Camp6-10 August, Shotley

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 spriNg Newsletter:

1 February 2014For publiCatioN by

1 March 2014

Kick Wheel for Sale

Original Leach Kick Wheel £100

Geoff Elmore2 Riffhams, Brentwood

CM13 2TWt: 01277 525120

Pugmill for SalePotterycrafts Horizontal Pugmill with stand, good working order

Bore 50mm, length 650mm. Single phase. Buyer collects.

£250 o.n.o. Tim Mitchell, Lowestoft NR32 5JA

t: 01502 730470

Clay Extruder for SalePulhams Clay Extruder

(manual version) *Professionally engineered to high spec.

* Cartridge fed for fast clay feed * Short arm lever for ease of use

*Four standard die plates *Die making service available

Owner moving from studio. £600.Contact Ray Auker t: 01379 676273

for more details.