EMERGING
Issue 24 July to September 2021
Potters
Emerging Potters - 24
July - September 2021
Introduction The online pottery magazine Welcome to the new edition of the magazine. At the time of publishing the UK sector is still uncertain and many shows have been cancelled, moved online or have been able to open to the public in the north of the country, mainly through the very popular ‘Potfest’ series of outdoor shows. It is still disruptive for those students who are graduating and in the case of those from the Royal College of Art this year’s cohort have organised their own show, with the official college show taking place next year. Their work under the banner of ‘Sketch’ have been chosen in no particular order. It does show the importance of the college as an international center of excellence, attracting students internationally. Another important showcase is New Designers which has moved online. Around the country makers have been adapting to the new situation they find themselves in. The use of social media has become a central element in marketing work and many have added space to their studios to continue their own work and responded to the increase demand for classes. In future editions of the magazine it is hoped to include more students work to showcase the rich diversity of work being done nationally. Paul Bailey, editor Cover: Iranian maker Afagh Advay at work
The magazine is an independent journal. The publishers do not accept any liability for errors or omissions. The views expressed in the features are not necessarily those of the editor. Reproduction in part or whole must be with the consent of the editor. All rights reserved.
Contributions to the gallery of work from makers and students are welcome and will be included wherever possible on a first come basis. Send to the email address – paulbailey123@googlemail.com. The editor’s decision is final. © Paul Bailey 2020 Emerging Potters is produced in association with Aylesford Pottery UK.
July - September 2021
Contents Advisory Panel Alan Parris and Billy Byles are master potters and joint partners of the Aylesford Pottery in Kent.. John Leach, eldest grandson of renowned potter Bernard Leach and son of David Leach, continues the family tradition at Muchelney Pottery in the heart of the Somerset Levels. Helen Walsh, Curator of Ceramics CoCA, York Museums Trust. Wendy Kershaw, international ceramic maker based in Scotland. Emily Wiles, ceramic maker based in Leicester. Sandi Cowles, A student attending pottery classes at Penzance School of Art.
Linda Southwell Turning Earth Studios Kate Boulton Afagh Advay Fiona Booy Nichola Theakson Kiln Rooms Susie Ramsay-Smith Royal College of Art Joshua Aubrook Clare Wood – news item Southern Potters
3–5 6 7-8 9 – 11 12 – 14 15 - 18 19 20 - 21 22 – 40 41 42 43
Ella Watkins is now a contributing features writer for the magazine.
2
Emerging Potters – 24 Linda Southwell
July - September 2021
Linda Southwell Studios exist in many places and in different forms but for Linda Southwell her’s has been an epic challenge. She moved her studio to Renishaw Hall, near Sheffield in 2019, but the connection with the gardens goes back a long way.
3
There was a sense of helplessness and frustration so she decided to make her work in response to this, particularly as Yuccas can regenerate after forest fires. This seemed so hopeful and positive.
As a season ticket holder and living in such close proximity she has always enjoyed the sense of calm the gardens give her and found many of the plants there a real inspiration. For many years she had wanted to create an installation and knew the work needed to be sited inside, and the only space that was viable at Renishaw Hall was the Yuccary (an orangery that houses the national Yucca collection).
Initially she wasn’t drawn to the plants but then began a new respect for their tenacity and adaptability. One day she learnt that they were commonly referred to as ‘Ghosts in the Graveyard’ in their native Mexico and that sparked something in her. At the time the forest fires were raging in Australia and the issue of climate change seemed at an absolute priority. There was a sense of helplessness and frustration so she decided to make her work in response to this, particularly as Yuccas can regenerate after forest fires. This seemed so hopeful and positive.
Initially she wasn’t drawn to the plants but then began a new respect for their tenacity and adaptability. One day she learnt that they were commonly referred to as ‘Ghosts in the Graveyard’ in their native Mexico and that sparked something in her. At the time the forest fires were raging in Australia and the issue of climate change seemed at an absolute priority.
Her road to ceramics started with a degree in Art and English at Anglia Polytechnic University, which is now Anglia Ruskin University. The campus was in Cambridge and it was a beautiful place to study. She rented a room on the road where the botanical gardens were so for her it was heaven.
Emerging Potters – 24 Linda Southwell
She worked with clay as a by-product on the degree course where they had inspirational lecturers in sculpture, encouraging man to work with all materials and all scales. Fascinated by the human form she created large sleeping heads out of clay and then cast them in cement fondue. After graduating she was employed in an office and a pottery evening class was something creative to do. She was fortunate that there was an open access, incredibly cheap, pottery studio in East Oxford called Oxpots. There she attended every Thursday for five years and it was usually just her and the tutor. Learning so much from her it eventually helped her to manage the space and fundraise for improved equipment. She still uses the kiln they gave her as a thank you.
July - September 2021
Continuing to work from home in the evenings with ceramics for many years, while doing a variety of daytime jobs and children she then decided to commit to pottery as a full-time career in 2017. Setting up a studio on the Welbeck Estate where she was supported by the Harley foundation and given an opportunity to really develop her work and skills.
4
July - September 2021
Emerging Potters – 24 Linda Southwell
The natural world is part of her. Growing up on a farm with a mother who was a gardener and a maker. Nature allows people to take time, to slowdown and watch peacefully. She wanted her work in it’s repetitive complexity to be both meditative in the making process but also for the observer. The ‘Ghosts in the Graveyard’ installation was a huge step forward where she scaled up the work and placed it in a natural environment so that there was a respectful echo of the real thing. She worked in porcelain paper clay, which was a first for her. It gave a flexibility to the working state so she wasn’t as worried about the material being too dry or collapsing. The main ‘tree’ was made in sections that were pieced together as the kiln is relatively small. The leaves were a particular challenge as the laws of gravity simply wanted to pull them down. She had four attempts at making a central column that individual leaves were attached to, and in the end had to make ceramic struts that supported each leaf.
5
The installation has had a fundamental influence on her work. Starting to look at it in terms of component parts, rather than as a whole which has opened up a very different direction. She is also looking at using nature as part of the sculpture rather than as something to respond to. Eventually setting up a new brand called ‘Clay Experience’ specifically to promote this. Her work has also taken a change in direction. Currently she is working on a light fitting. Some of the elements are heavily inspired by the leaf forms of the Yucca. Also framed wall pieces too that are a really great combination of materials. The work was on show at Renishaw Hall between March to September 2020. Website: http://www.lindasouthwell.co.uk/
Emerging Potters – 24
July - September 2021
The Covid pandemic has brought challenges to both studios and individual makers and students. In order to accommodate social distancing classes, Turning Earth Studios have decided to open its third hub in the heart of East London (Cremer Street). Classes are also running from the more established Learning Hub Leyton. All their classrooms and classes have adapted to welcome students in the total safety of social distancing and classes restarted in March 2021. Implemented actions: - fitted Perspex screens where the 2-meter distance is not possible - carried out regular Covid-19 Secure inspections - created stringent cleaning protocols for high contact areas and shared equipment - implemented temperature checks - implemented visors and masks for teachers - implemented amplification for teaching where necessary - require all students to regularly wash hands - require consistent mask-wearing - eliminated bottlenecks by installing more cleaning facilities - implemented ventilation throughout and after classes - carry out deep cleaning after classes
Cremer Street Learning hub
You can have a look at what is available and reserve a spot on their next course on their website: Turningarth.org > Classes > Sign up. They have also 1-week long courses where you can learn everything you'd get in their 12-week beginners' course - plus some extras - in a single week. It's a great way to get going in the craft quickly without the commitment of a weekly time slot. We recommend keeping a close eye on the release date as spaces are selling fast! 6
July – September 2021
Emerging Potters – 24
Kate Boulton
The work of ceramicists such as Kyra Cane and Bisila Noha inspired Kate to develop her skills further. Britain has always had a strong history of ceramics, whether for useful or artistic purposes. It was a powerhouse during the Industrial Revolution however its popularity showed a decline around the turn of the 21st century. More recently, the pottery world has seen a resurgence of new and exciting ceramicists, pushing the boundaries in new and exciting ways. Kate has always had a huge passion for the arts, taking a pottery class at the age of 16 and then going on to study for a Foundation course in Art & Design in Hull. She then continued her love of art at Leeds Met University, where she received a 2:1 BA Hons in Art & Design. Art then took a slight back seat while following a career in the museum sector. Finding a local pottery studio in the beautiful Lincolnshire Wolds, became a delightful springboard for her. Fully equipped with a variety of materials, large kiln space and potters wheels, the studio enabled her to revisit her passion for the arts. There she began working with clay as a therapeutic antidote to the stresses of work and life and became fascinated with the creative processes of producing ceramic art.
7
Emerging Potters – 24 Kate Boulton
July – September 2021
Inspired by the natural environment of Lincolnshire and Yorkshire, she started to look at the local landscapes and seascapes as inspiration for her work, creating abstract versions of the world around her using clay, glazes and oxides. The work primarily is with white earthenware and terracotta clays, scoring the surface to create undulating surfaces, fault lines and fissures. The detail and intricacies of the low relief technique bring a unique aesthetic quality to each piece, reflecting an intriguing sense of balance and contrast. Layers of different glazes and oxides chemically react when fired at high temperatures, creating unique pieces and surprising results every time. The work has developed over time, and continually explores the relationship between colour and texture, with particular emphasis on ceramic materials, glaze reactions and natural processes. She plans to introduce the techniques to produce useable objects such as bowls and vases.
Website: https://www.kateboultonceramics.com Instagram: https://www.instagram.com/kateboultonceramics
8
Emerging Potters – 24
July – September 2021
Afagh Advay She originally studied painting at the College of Fine Arts in Tehran (Iran). But before that she learnt the art of embossing and ceramics in a completely experimental and traditional way working in traditional workshops, at the age of 18. Then later continued her work by gaining experience in her own workshop. The knowledge gained in painting from college helped a lot when making her reliefs. Although her career started by making embossments and pottery sculptures she since started making ceramic tableware. One of the reasons she chose ceramics as the main material was that it lends it self to relief making. Traditionally making clay and stone reliefs has been very common since ancient times in her country, and dates back thousands of years. Inspired by ancient reliefs, she started making her own modern interpretations in design and techniques.
9
Name: autumn 420cm x120cm 2018 Solo Relief Exhibition, Eskisehir, Turkey
She has had many solo and group exhibitions both inside and outside Iran, together with making many reliefs and sculptures for urban spaces. She hopes to expand this urban work to other cities in the world. Currently she works in Turkey where she has a workshop, which is extensively equipped, including furnaces. These she uses for firing her reliefs and sculptures which are all handmade. In the future she wants to research and produce ceramic dishes while studying traditional techniques of production in other countries as well as the influence of different lifestyles and cultures.
Emerging Potters – 24 Afagh Advay
July - September 2021
Far left:Battle of sohrab and gorafarid 400cm x 500cm Relief clay Iran,Tehran Left: The song of life. 240cm x 160cm Relief clay. Iran,Tehran Below: Ancient glaze relief Found in the Susa
Her own work is both influenced by personnel experiences such as family and working in another country, and at the same time her work has influenced her own life while becoming an international maker.
Embossing is one of the ancient arts of Iran that has been able to maintain a strong position in urban spaces.
When she starts a relief project the procedure is as follows: - Make bricks measuring 20 x 20 cm. - Create a clay plate by putting these bricks together. - Carve the design into this clay plate.essic - Add clay to the necessary parts and create the details of the design. - At this stage, her skill in painting helps. - Divide the work again into 20 x 20 cm bricks and place them in a room for drying. Always control the temperature and humidity of this room and make sure that there is no airflow like wind and breeze because this causes them to crack. - Put them in the furnace for firing, after drying the bricks completely. - Finally pack the bricks carefully for transport to the installation site. - Install them on the wall as a board and patinate it.
In Iran, ancient reliefs can be seen in the mountains, along roads, as well as near water sources and springs. Among the ancient reliefs, can be found the reliefs of Firoozabad, Bishabour, Persepolis, and Susa. Persian kings often used reliefs to depict their wars, victories, and power. Looking at the production of ceramic dishes in Iran, she notes that almost every region has its own traditional techniques for ceramics. 10
Emerging Potters – 24 Afagh Advay
July - September 2021
Name: Journey of Simorg 250cm x 120 cm 2018 Solo Relief Exhibition, Eskisehir, Turkey
Lalajin city is one of the pottery centers of Iran. The soil in this area is red and the dishes are usually turquoise and azure. The traditional technique of vitreous enamel on pottery is produced here. Also, the soil from this area is suitable for making reliefs.
Recently in addition to making relief clay boards, she has been making sculptures for urban spaces. Making the clay relief boards in large dimensions, her smallest piece is 120 x 80 cm and biggest piece is 50 x 3 meters (150 square meters).
The Tabriz and Zanuz regions have white and high-quality soil and the dishes are usually turquoise and latticed.
Holding an exhibition with these heavy boards was almost impossible for her because of the weight so she temporarily decided to change materials and use plaster instead of clay, to hold a solo exhibition in 2018. It was an interesting experience for her and of course full of challenges. But finally managed to produce 23 works in different dimensions for this exhibition.
Kalpurgan Pottery dates back to the Paleolithic era. Here dishes are still made according to ancient patterns and the potteries are made by tubular technique (wick) and without glaze. Kharmohreh Qom can be traced to 6,000 years ago. It has a turquoise blue clay that was used as a spell in the past and is now used as a decorative object.
11
Contact details: Website: www.afaghadvay.com Instagram: afagh_advay
July - September 2021
Emerging Potters – 24
Fiona Booy Originally born in Scotland, Fiona grew up in South Africa. In 2000, after living and working in Hong Kong and The Netherlands, she moved to St Albans, England. Then in 2015, after 25+ years in IT and finance, she swapped her hobby pottery for a full-time clay career. An early influence was David Walters. His studio was part of the Midlands Meander Art Trail in Natal Kwa Zulu in South Africa. There he made large wheel thrown porcelain vessels of delicious proportions. Lovely to hold – both strong and fragile, bold and delicate. His glazes were a simple-butintricate mix of slip, oxides and glazes. She coveted his pots and dreamed of his studio pottery career: “Imagine making lovely pots in gorgeous surroundings and selling to visitors from the outside world from your very own home – what a dream way to live…” In June 2019 she graduated from CityLit with a Ceramics Diploma. Further influences came from the Friday night demonstrations at Dacorum & Chiltern Potters Guild. Above: Stan & Clem
12
Emerging Potters – 24 Fiona Booy
The CityLit ceramics diploma was pivotal in her progression to ceramic artist. This course challenged Fiona’s core ways of thinking and working. Many years in business honed straight lines and hard thinking. Improving her creativity meant thinking less from her conscious mind and allowing more spontaneous reactions from the subconscious- learning how to ‘let go’. Another element from the course was glaze chemistry, which has stayed with her and is another challenge for the future. Today her studio is a small busy area at home (a bike shed with wheel, kiln & many shelves). In addition, she joined Digswell Arts Trust in October 2019, sharing the studio with a fellow CityLit graduate. Along with four other ceramic artists they have access to two large kilns and a large work space. However with lockdown, studio-sharing and home schooling, access for her has been limited. Her work is a mix of vessels and sculptures – most of whom begin their life on the wheel, with the tactile soft flowing nature of the clay and throwing rings. She enjoys throwing soft forms which capture fluidity and motion, and particularly the way throwing rings can resonate with sedimentary rock, or water erosion.
13
July - September 2021
A major influence has been the mountains of Drakensberg in South Africa leaving humbled impression of the inconceivable force and time required for mountain formation, movement and subsequent erosion. She often works many different clays and other inorganic materials into each piece – as it creates interest and emphasises the throwing lines. Often organics are added such as raisins, chickpeas, coucous. These fall out/ burn off and leave behind interesting textures – which pool glazes and draw the eye. Top: left Halo Vessel Blue. Right: Bejeweld Bottom: Madam
July - September 2021
Emerging Potters – 24 Fiona Booy
They also bump the throwing off kilter making for more interesting swirls and edges. The final part is assembly stage – where she stacks, cuts and even squiggle parts of thrown pieces together. To progress her work Fiona is now experimenting with coloured clays & brighter glazes, and increasing the size of her creations. Covid made for an unexpected past 12 months for Fiona. After her teaching workshops and exhibitions were all cancelled, she created the Make-at-Home Pottery Club – which comprises the YouTube channel, St Albans Pottery, and developed various clay packs (airdry clay & firing option) for adults and children. To date she has created over 30 video projects.
FionaBooyCeramics/ St Albans Pottery/ Make-at-Home Pottery Club www.FionaBooyCeramics.co.uk https://www.instagram.com/fionabooycera mics https://www.facebook.com/FionaBooyCera mics https://www.instagram.com/stalbanspottery https://www.youtube.com/c/stalbanspottery
Top: Hidden Depths Right: Tattooine
14
July - September 2021
Emerging Potters – 24
Nichola Theakston Established as one of the UK's foremost contemporary sculptors working in the animal genre, Nichola Theakston exhibits across the UK and Europe where she is collected internationally by those who appreciate her natural ability and skill, coupled with sensitivity and awareness of her subject. The major influence in the work started with the opportunity to work with clay on monumental scale within a conceptual and sculptural fine art context during the first year of her degree course. Starting at Leeds Jacob Kramer-Foundation studies; then Exeter College of Art and Design-BA Hons Fine Art; and finally Cardiff School of Art and Design-MA Ceramics. Early influences were Ewan Uglow, Marino Marini, and Elizabeth Frink. Studying fine art at degree level and majoring in both painting and ceramics has been an overriding directional influence. She operates as a sculptor with clay as a medium, and is particularly focused on the sculptural language employed working in harmony with a painterly and expressive surface application. Influences other than the connection to, and observation of specific subjects tend toward the powerful influence of the Ancients and the Classics. She is interested in the representation of animals as deities, votives or companions throughout the course of early civilisations. Clay has a directly malleable, earthy and warm appeal and is the first choice of medium.
15
She sells her work via galleries, at ceramic craft shows and via UK and European Art fairs with gallery representation. Online platforms such as Instagram being a more recent and direct point of contact and information sharing. Today she works from a purpose built studio converted from an old piggery next to the farmhouse she has lived in for over two decades. Recent renovations have seen the studio become attached via a connecting gallery space to the house. Below: ‘Sighthound 9’ . Unique Study in terracotta. 2021
Emerging Potters – 24 Nichola Theakston
July - September 2021
Left: ‘Checking and working waxes before the investment process at the foundry. Below: ‘Bastet Study 3’ Bronze edition of 12. Detail.
One off ceramic pieces are made using various approaches; handbuilding, constructing, slab building , working both on and off an armature and direct modelling. Slips and stains are applied prior to firing. It is fired only once. The surface is worked whilst the clay is damp and the sculpture is often at risk during the process. Bronze casting requires a soft latex mould to be made of the original clay model, which is backed with a fibreglass shell. A wax positive is made from which another mould is taken, which can withstand the molten bronze pour.
16
Emerging Potters – 24 Nichola Theakston
She has always tried to express the ‘within’ of a subject as well as the physicality. Earlier work was more concerned with form and representation, while the focus has been shifting towards an emphasis upon the notion of a shared consciousness, the connection between man and beast experiencing similar emotion /capacity for shared thought and understanding. What she calls ‘the cerebral connection’. Although an understanding of form and observation is still important she values the expression of the former more highly. Her approach to finish has also evolved. For over a decade she has been revisiting and experimenting with an abstract expressive approach to surface figuration, a return to an approach first used after leaving art college and utilising the painterly side of her art education.
Top right: ‘Bastet 3’ during patination at the foundry. Left below: ‘Bastet’ Bronze edition of 12 Right: ‘Bastet Study 1’ Bronze edition of 12 (detail)
17
July - September 2021
Emerging Potters – 24 Nichola Theakston
July - September 2021
She began working with a bronze foundry around five years ago. Prior to this she had been making limited edition ceramic sculptures pressed from plaster moulds, alongside one off unique ceramic pieces. The new direction allows her to alter the focus towards the more creative unique pieces in ceramic as editions are now cast in bronze. Recently she has been developing her patination skills, to achieve the finish she is happy with. Besides exhibiting at leading Ceramic and Art fairs in UK and Europe, she has had work selected and exhibited for 'Wildlife Artist of the Year' in London, raising funds for endangered wildlife, and has had several works catalogued and successfully auctioned at Bonhams, London. Public collections include The Weiner Museum of decorative Arts in USA, WMODA. Recent Commissions have included designing and making trophies for Lush Cosmetic's 'Lush Prize', rewarding initiatives within the world of science and lobbying toward bringing animal testing to an end. www.lushprize.org ‘Bastet Study 1’ Unique study in Terracotta 2020 in the studio prior to firing.
18
Emerging Potters – 24
July - September 2021
Kiln Rooms new studio
Work is now progressing on improvements to The Kiln Rooms third London open access studio at Copeland Park. This compliments Peckham Levels and Bellenden Road Arches studios. www.the kilnrooms.com
19
July - September 2021
Emerging Potters – 24
Susie Ramsay-Smith A report in her own words
As an ecological potter, how can I develop a more sustainable methodology? I chose this question for my MA Craft essay, because it concerns me that ceramics generally, isn’t a sustainable craft, (only glass making is worse). Mining resources (the farm mud I use to create pottery, is a vital eco-system for toads which are declining) from around the world for clay/glaze ingredients, transport emissions, plus the fuel to transport them and kiln fire, contributes to global warming. I’m exploring how to consider the technicalities of my practice and attempt to find a different methodology to address sustainability in ceramics. Being a potter could be problematical, extracting raw materials from the farm and processing as clay and glaze. Toads prefer earthy, leaf litter and log piles for their burrows, which I avoid as I need heavy clay. This is constantly being renewed by chemical weathering of granites causing some feldspar and mica minerals to further decompose into clay minerals. Rocks are the basis of most of our ceramic materials and make up 75% of the earth’s crust.
When exploring use of clay nearby, I found brickmaking in Sussex flourished since 15thC, the potteries, brick and tile sites were all situated near the clay source. These community industries sourced local clays and sustainably coppiced wood.
This proves predecessors used local resources environmentally, which I capture through my materials. Charlotte Pack, Phoebe Cummings, Adam Buick & Ai Wei Wei are other contemporary, ecological makers. Generally, European potters (craft or industrial) use indoor, electric kilns with digital controllers, for ease, firing their pots twice, to bisque (partially fired, strong but absorbent) 1000¹C, secondly with glaze applied, ranges from earthenware, below 1200¹C or stoneware/porcelain above 1200-1300¹C. Although kilns are well insulated, some heat is given off, useful in a winter pottery drying pots on top, otherwise ‘eco’ is not a word listed in sales descriptions; maybe manufacturers would do more if requested by customers. Outdoor wood kilns, used globally, are usually larger capacity, taking months or collaboratives to fill. According to Mark Hewitt ‘It’s inefficient, unpredictable, and inevitably polluting.’ Obviously, earthenware programmes use less energy, thus lower emissions, so reducing the temperature, is one way; many stoneware glazes fire successfully at 1200¹C, switching to a green energy provider is another.
20
Emerging Potters – 24
Susie Ramsay-Smith
Raku, pit or paper firing kilns - Faster to a lower earthenware 800-1000¹C then reduction atmosphere producing crackle/smoke effect surfaces. These can use gas, wood offcuts or recycled waste products eg. newspapers, shavings or sawdust, from a nearby sawmill. These are pyrotechnic fun, sustainable processes but producing semifunctional ceramics. One way to eliminate one firing processes is to ‘raw’ glaze, leaving out the biscuit stage. This saves time and fuel, but the pot is glazed fragile and unfired. These slip glazes need higher proportions of clay to cope with the shrinkage, but once mastered would be a huge step towards sustainable methodology. Few complete pottery clays are now mined in England and are rarely origin labelled, caused by lack of demand after late 20thC collapse of Stoke’s ceramic industry. Water; a precious resource, necessary for soaking raw clay, throwing, glazes and washing tools. Studios need settling-pits for the sediment and surface water should be collected for the garden, or re-used in the studio. The kiln new/used, should be as large as affordable, scrutinize manufacturers’ environmental credentials beforehand. An electric throwing wheel isn’t vital if there’s a serviceable kick-wheel alternative. Tools can be repurposed from charity/kitchen utensils. Recycled bags for wrapping ware and plastic cards make alternative kidneys.
21
July - September 2021
Consumer power - create a sustainable society - if customers don’t purchase goods based on ecologically sound practices, ethical designer/makers won’t survive. Accountability is important - who leads this environmental way of potting – experts and journalists need to promote it, because if potters globally advocate this, customers respond and sustainability becomes core to the craft. I suggest a Sustainable Ceramic Standards Association – Use interest within the community to collaborate, agreeing standards for regulating sustainable practices. As an ecological potter I have developed a more sustainable methodology: 1. Sourcing own clay for bought = no production or transport pollution 2. Restrict glazes to local mineral/recycled ingredients = no production or transport pollution 3. Switch to green energy supplier = sustainable energy = less pollution 4. Raw glaze = halves energy required for each kiln firing = halved pollution 5. Fire to earthenware regularly = less energy = less carbon footprint = element longevity 6. Reduce stoneware firings + temperature to 1200¹C = lower energy consumption = element longevity 7. Online sales, using existing delivery companies = no sellers/buyers transport pollution http://www.experiencesussex.co.uk/ceramics
Emerging Potters – 24
RCA 2021
July - September 2021
Royal College of Art
2021 Graduates Sketch - an exhibition showcasing the diversity of mediums and approaches of graduating RCA Ceramics and Glass student's work. Responding to the idea of a sketch, this show will contain exploratory and finished pieces in ceramics and glass alongside works across the mediums of drawing, photography, film, 3D printed ceramic, stone carving and painting. 'Sketch' is separate from the final degree show that will take place next year, and offers the opportunity to see the variety of creative output that forms an art practice.
This exhibition will take place at 11 Avenue Studios, a gallery space in South Kensington hosted by arts collector and curator Preston Fitzgerald. After a challenging year and a half of study since the start of the pandemic, 'Sketch' will be the first time the cohort has come together to curate and exhibit work in a physical show.
2nd to 11th July 2021 11 Avenue Studios, Sydney Mews, South Kensington, London SW3 6HL. 3pm to 6pm and by private appointment at other times 22
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Yau Chung Tong RCA The work focus on the functionality of objects and the experience that craft brings into our everyday life. The creative process with clay captures an impulsive emotion with Yau on the potter’s wheel and an inner narrative at a particular moment. Every pot carries messages to the user. The uniqueness in each of the works, as well as the unique personality and life experiences of each person that she has encountered. It is important for my work to bring visual sensations to the users and take part in their daily life. This motivates me to be a ceramics artist who strives to reveal the true self of clay and find the best balance between the material, potential users, and herself.
23
Country of origin: Hong Kong 2019-2021 Royal College of Art, London, UK. MA Ceramics and Glass 2014-2017 California College of the Arts, San Francisco, CA. Bachelor of Fine Arts Ceramics Instagram: @yauchung_tong
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Emma Marks RCA Prior to RCA, Camberwell College of Art, BA in Sculpture 2015. The work draws parallels between ceramic processes and rethinking how we live in the more-thanhuman world. She turns to the event of building a ceramic vessel to reimagine what we think we already know: How to make a pot? How to live in a world? She works with ceramics, photography, film and sound, using the event of creating a ceramic vessel to explore less familiar and less human-centric narratives. Becoming 0.2 questions our understanding of how a pot or any thing come into being. The work is a sound piece embedded within an unfired vessel. The vessel was built intuitively using recording equipment to capture the sounds of making. This recording has been post-edited and plays on a loop from inside the same vessel. UK www.emmamarksart.com
24
Emerging Potters – 24
RCA 24 Sketch
July - September 2021
Fang Echo Wang RCA Prior to RCA - Royal Melbourne Institute of Technology (RMIT University) Bachelor of Arts, Objected Based Practice She has been deeply affected by the political and social issues that have been happening worldwide. This feeling of constant unease and claustrophobia has informed the work, both consciously and subconsciously. These events have made the work more personal and dark than it may have been before, and while this level of introspection can be difficult on a personal level, she believes that it is important for her to use it to power the work and attempt to gain something constructive out of these feelings.
At the start of January she started learning about and making stop motion animation with clay. Undertaking many trials and attempts to understand this way of working with animation, building a set, and also finding and focusing on the theme for the film. She is still at the stage of exploration with the theme, but the figures and story seem to be growing out of her fingertips. With the political and social issues that have risen up in the past few months concerning violence against women and Asian minorities, she is living in a stage of concern. Creating is a way for her to digest and process those feelings. The goal is to use the work as a weapon to deconstruct the patriarchal society that we live in.
Born in Australia Website: www.ekokaxi.com Instagram: ekokaxi YouTube: ekokaxi wang Vimeo: ekokaxi wang
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Annette Lindenberg RCA Prior to RCA Cardiff Metropolitan University “Silver droplets”- thinking about sea spray Her recent work has been focused on extracting thoughts through a tactile balance of carving and carefully curated surfaces. Thinking in layers of clays, glazes and precious life-moments; this series reflects on my relationship with the sea, visiting it as a child from landlocked Austria and how this has impacted what ceramic combinations she is drawn to. Each of her objects looks at how texture, colour-tone and nuanced aesthetics capture moments of joy and some sadness felt while making the work. Austria/ England Website: www.lindenbergdesigns.com
26
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Daria Coleridge RCA
Prior to RCA tained at Heatherley School of Fine Art Voluminous Sculptural Form of intertwined shapes that have a sensation of motion. Just like a relationship, each form is a unique character in an evolving world - like a dance! London, England www@DariaColeridge.com
27
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Monica Tong RCA Prior to attending the RCA - Pasadena City College (California) Her practice investigates the poetic intervention of subtle human senses and emotions through objects made in porcelain and glass. We connect with the world and the universe through our senses, in order to understand our being in nature and our experience in time. She has found porcelain and glass to be the best media in translating this experience into visual poetry due to their purity and translucency.
Originally from China/New Zealand https://studio-m.mystrikingly.com/
Below: Lost Paradise I - detail
28
Emerging Potters – 24
RCA 2021 Sketch
Chengyu Li RCA
Originally from China Attended the University/college Academy of Arts & Design, Tsinghua University. Her diary is expressed in the form of painting. To her, painting is like a poet writing poetry. They are as natural as she speaks, and the expression of feelings. She uses images to construct emotions and her fantasies. It allows her to find a sense of detachment from daily life.
29
July - September 2021
Emerging Potters – 24
July - September 2021
RCA 2021 Sketch
Elizabeth Jackson RCA Prior to RCA, Central Saint Martins BA Fine Art - 2013
This piece consists of slip cast nectarine & plum stones, forms often overlooked but which are characteristic of the familiar, everyday objects that she is drawn to working with in her more abstract, gestural work. These stones are the result of the testing process; using waste material from other pieces of work, blending them to explore further the potential of colour in clay. UK Website: ejackson.online
30
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Leora Honeyman RCA Viewing ‘use’ as culturally and temporally subjective, the work frequently subverts expectation to speculate on alternative, future, or fictional, cultural contexts. By stretching the capabilities of material and process and employing mechanisms such as fragility and precarity, she seek to question impossibility, implying a reality beyond that which is ordinarily assumed or acknowledged.
31
In the process, a vast amount of playful and curious testing is required. She considers the resulting fragments to be a body of work in their own right, standing alongside the ‘complete’ objects of collectible design which they inform. Country of Origin - Zimbabwe BA - University of Brighton
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Nili Feferberg RCA
She creates unusual, playful, ambiguous, solid, layered cast mineral sculptures that seemingly relate to everyday objects, as a method of challenging and questioning our pre-perception of what we conceive as familiar.
Different to traditional casting, she uses recycled cardboards as moulds, they are fragile, unstable, organic and temporary, however, the born sculptures are solid, carry every single trace or fold of the mould.
The aim is to string together the material ontology and the human self through uniting the body (clay), the skin (glaze) and the transformative agent, the Voice-Self which is a concept that she has developed.
I Am Not A Reflection Of Your Thoughts, 2021
The minerals used are referred to as clay/glaze bodies, are made from formulas that she has developed to create sculptures that are glaze and clay, a skin and a body, called a SkinBody.
Prior to RCA -Fine Art Goldsmiths University of London, MFA Web: nilifeferberg.com Instagram: nili_feferberg_art
Solid cast minerals and stains 12 x 9.5 x 7 cm Israeli/British artist
32
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Clara Bloch Jensen RCA She took her bachelor degree at KADK, The Royal Danish Academy of Art and Design, in 2019. She feels a connection between the object and herself - part of the same story - touching historical times. The fragments suggest something, a distinct aura of previous life, of voices, of death. Her artistic practice begins right here, communicating, sensing the material with her brain, her hands and body. Originally from Denmark clara@nanu.dk
33
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Katalina Caliedo RCA
"I am fascinated by how landscapes, environments, and the things that animate them are continuously shaped by the symbiotic interactions and collaborative tensions between both life and non-life, the tangible and the intangible" Katalina Caliendo She is an American artist that has been based in London for the past five yrs. She is a Qest Allchurches scholar and has ceramics available with Ting Ying Gallery and Mint Gallery. Photo: Robert Chadwick
34
Emerging Potters – 24 RCA 2021 Sketch
July - September 2021
Yuxi Lin RCA
University/college attended prior to RCA: China Academic of Art This series of utensils challenged the traditional symmetrical shape, and there is no exact shape of the base. Different from people's usual way of viewing, it breaks the inherent impression of calm and fragility of ceramic works, and changes the usual way of displaying artworks, placing them in a "dangerous" but freer way.
35
As far as the exhibits are concerned, they are no longer limited to a fixed display state, but encourage people to participate, interact, and feel the interest in them. You can push it at will, and they will eventually return to the original balance angle, allowing viewers to explore their balance in the dynamic. Country of origin: China
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Desa Philippi RCA Originally from Germany but has lived in the UK for many years Previous education: CityLit Ceramics Diploma
In the work Desa combine simple geometric forms from press moulded and handbuilt elements into hybrid objects that are clearly fragments but also have the character and function of models. Surfaces are smooth or highly textured with the imprints of found objects and further accentuated with contrasting runny or extremely dry glazes.
www.desaphilippi.com Instagram @desaphilippi
36
Emerging Potters – 24 RCA 2021 Sketch
July - September 2021
Ella Porter RCA Drawn to clay’s unique ability to preserve the act of making, as both conscious and unconscious moments of touch are held in the surface of the ceramic object. Her practice displays a strong relationship between surface and form; bringing together processes associated with both printmaking and ceramic. She explore ideas surrounding the mark of the maker, temporality, trace and place. During the creation of my work there is a continual shift between layering
37
Prior to studies at The Royal College of Art, she completed a BA in Painting and Printmaking at Glasgow School of Art followed by a Diploma in Ceramics at the City Lit. United Kingdom @ellaporterstudio www.ellaporterstudio.com
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Antonio Fois RCA Questioning hierarchies and their boundaries are his current concerns. He is fascinated by the interrelation between societies and their territories, stemming from his previous studies in Human Geography and from Buddhism, which is central to my life and practice. His work explores that liminal space that redefines the perception of structure/façade. He combines traditional hand-building and casting processes with experimentation using glazes and glass as part of the body.
Before the RCA he graduated with an MA in Human Geography at the University of Sassari (IT) and I completed a Post Diploma school of ceramics in Faenza (IT). He has been shortlisted for the 59th Faenza International Ceramics Prize. Italy @antoniofoisceramics www.antoniofoisceramics
38
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Edgar Ward RCA Prior to RCA: City and Guilds of London Art School The work explores place and memory through drawing, clay modelling, stone carving and digital sculpture. He draws inspiration from ancient sites within the urban landscape where the old and the new exist together. (British/Australian) Website: www.edgarward.co.uk
Hardy Tree
39
Emerging Potters – 24
RCA 2021 Sketch
July - September 2021
Leo Richardson RCA His ceramic practice is a visual manifestation and interpretation of the theme of Art & Science within the landscape and its biodynamic cycles. The process involves collecting soil from various locations and then turning it into pigments in order to incorporate soil into an artistic and aesthetic medium. Experiments are carried out on soil pigments, porcelain powder, oxides and glazing reactions to find different artistic possibilities. He is especially interested in observing the reactions between all these different materials when they contact each other in layers under varying temperatures. These observed reactions have exciting shapes, contours and edges that are developed through the understanding of how each material creates a surface and how it behaves in controlled conditions. The wide range of colours and shapes are suggestive of the natural environment from which the soil samples were taken. His passion is for landscape and nature and his special interest is in exploring the basic alchemy of soil in order to produce aesthetically pleasing shapes and surfaces from soil and incorporate these into his ceramic practice. Originally from Brazil. BA Ceramic Design at Central Saint Martins @leo.richardsonceramics
Borrow – Watercolor paper A3 size with soil pigment solution
40
Emerging Potters – 24
July - September 2021
Joshua Aubrook His interest in ceramics started when he was fortunate enough to go to a school in Canterbury, Kent that still had a large functional studio devoted to ceramics. An exceptional teacher allowed him to spend breaks and lunchtimes making in the studio. There he felt for the first time he was in control of the material and not just following a set procedure. Later he went on to study a BA (Hons) Degree at the University for the Creative Arts, Farnham. Since discovering ceramics, there was never an option for him not to be a ceramicist. Once he began to throw myself into making he changed to become a different person, growing more confident. Today, for almost three years, he has shared a studio with friends in South East London. For them It’s great, as there are lots of natural light, which is important. He has found the British ceramics tradition is huge, and underappreciated. Inspired by the work of Edward Beer Fishley and the country pottery school that pre-dated Leach’s ‘East’. 41
The slipware, creamware and encaustic styles that grew during the medieval period and were refined by generations speak to him. British pottery talks, it expresses and communicates through its pattern, its inlaid writing and its humor. When he sees one of Fishley’s tankards he can imagine the old man smiling while he made it wearing his wonky hat, it paints a vivid mental picture. His work explores modern panic surrounding the concept of an end, the unknown tomorrow. Eschatology, survivalism and the narratives built around loss inspire him to play with interpretations of what a devastated reality may look like visually. The stories, often reference his love of collage and Jumpstyle, aiming to capture an absurdity to annihilation. The work is sculpture with ceramics to articulate these ideas. Enjoying free forms from his imagination and setting them in clay. nstagram: joshua.aubrook www.joshuaaubrookceramics.com
Emerging Potters – 24
July - September 2021
News item…
Clare Wood announced as new Artistic Director and CEO of the British Ceramics Biennial The British Ceramics Biennial (BCB) has announced the appointment of Clare Wood as its new Artistic Director and CEO. After three years as Chief Executive of Re-Form Heritage, a national charity that supports communities through the regeneration of their historic buildings, based at Middleport Pottery in Stoke-on-Trent, Clare will join BCB in August ahead of the seventh edition of its festival, which opens in the city on 11 September.
The British Ceramics Biennial (BCB) is a prestigious and highprofile festival of contemporary ceramics that takes place in Stoke-on-Trent and is underpinned by a year-round programme of artists’ commissions, education and community engagement projects. The festival returns for its seventh edition from 11 September to 17 October 2021. www.britishceramicsbiennial.com
As well her experience working at the heart of Stoke-on-Trent’s creative heritage, Clare brings to the organisation substantial knowledge of the wider cultural sector, having worked at organisations including MK Gallery, the Royal West of England Academy and with Stockholm’s museums and cultural organisations. On her appointment Clare Wood comments: “The rich heritage of the Potteries and the work of leading contemporary artists offers brilliant inspiration for encouraging people to discuss, experience and create with clay.”
Stephen Dixon – Tommy (top left) Connor Coulston What the… HoLai Sinking 2
42
Southern Ceramic Group
Ceramics Exhibition 31st July to 15th August 2021 Open Daily 10am to 5pm Free entrance
The Bishop’s Kitchen, Chichester Cathedral, PO19 1PX Over 600 ceramic pieces to view or buy
www.southernceramicgr oup.org.uk
Potfest in The Park 23/24/25 July Hutton-in-the-Forest Cumbria Book tickets in advance
Emerging Potters is produced quarterly and can be found on the ISSUU platform or contact the editor. e: paulbailey123@googlemail.com 44
