Emerging Potters magazine July - Sept 2020

EMERGING

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Issue 19 July - September 2020 Special Edition

Potters

Emerging Potters - 19

July - September 2020

Introduction The online pottery magazine Welcome to the magazine.

This edition of the magazine aims to profile the work of makers during the period of lockdown and what they have been making. Inevitably some have been unable to access their studios, while some have been unable to take part in the big international shows which we would normally feature in the magazine.

For all those who were able to take part many thanks and hope this brief overview pays tribute to all their hard work.

In a future edition we hope to feature those who were unable to take part here.

Cover: Jack Durling

On a brighter note it is great pleasure to welcome Claire Pearce from Thrown Gallery and her personal choice.

Paul Bailey- editor

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.

Emerging Potters Issue 19

July - September 2020

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. Ella Watkins is now a contributing features writer for the magazine.

Anna Barlow Lauren Nauman Jack Durling Lena Peters Wendy Kershaw Kathryn Hearn Sam Lucas Jessica Duffy Alice Funge Verity Howard Claire Murdock Daniel Boyle Kaitlan Murphy Dianna Tonnison Ian Thompson Mitch Pilkington Jessica Thorn Frances Spice Rebecca Proctor Sarah Monk Sue Morton Alison West Hannah Walters Manuel Calvo Julie Massie Laura Plant Jane Sarre Sam Walker Thrown Gallery Crafts Council Recent Books

Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Pages 32/33 Pages 34/35

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Emerging Potters – Issue 19

Anna Barlow

Anna has spent a month in Brighton at the Whistleblower Gallery. At the opening night of the exhibition she soaked the pieces in water as a performance highlighting the temporary landscape of the beach and picnic culture.

She focused on human interactions in the temporary natural landscape of the beach.

Called ‘Sandbox’ the show depicted the sand by colouring porcelain and then grinding it into a fine powder, then mixing it with silica sand. Then firing to the surface with glaze.

Available in the Kahn Gallery in London and Whistleblower Gallery Brighton- both sell online.

Anna is a lecturer at Central St Martins in London had has worked with Kate Malone for many years. www.annabarlowceramic s.com

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July- September 2020

Lauren Nauman

Traditional technique of slip casting is central to her practice. Allowing the process of mould making in plaster and casting with clay to inform the designs. They have simply become the tools to achieve the ideas.

Her work demonstrates how porcelain can move under the high heat of a kiln. What starts as straight cages of wet clay hardens, softens, moves and matures from mud to stone. The forms provide little support to maintain their original shape, so they twist and turn to find new ways to exist until they reach a stopping point.

Portrait photo by Circe Hamilton Lines - Piece is 36cm tall, Porcelain, $2400 or £2000 laurennauman.com/galleries shows gallery links.

Similar pieces to the image are available at Galleri Sebastian Schildt in Stockholm https://gallerisebastianschild t.se/ https://www.instagram.com/ gallerisebastianschildt/ http://laurennauman.com/

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Emerging Potters – Issue 19

Jack Durling

Aurora, Bleeding for Gold H57cm x 26cm x 24cm Sold A soul amongst many, telling the story for those that cannot speak for themselves. Traditional Chinese Medicine sees highly prized commodities sourced from animal species on a global scale.

Using gold lustre upon a hollow formed ceramic sculpture, Jack seeks to create emotive work that draws attention to this crisis. He donates proceeds from the sale of his work towards charities such as Animals Asia and Save The Rhino to help assist their protection.

Tel: +44 (0)1273 674511Mob: +44 (0)7748 649680 www.jackdurling.co.uk

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July- September 2020

Lena Peters

The Water Horse The horse is widely referenced in world mythology and folklore.

She has motherly characteristics - as seen in the Celtic Epona and the horse-headed Demeter and she symbolises power and freedom.

However, there is also a more negative depiction of the horse. In stories from Scotland and Ireland, the horse appears as the kelpie or the capaill uisce.

These water horses haunt rivers and streams, and are linked to fairies. They convince travellers and children to ride on their backs before dragging them to the depths of the water.

Size- L: 37cm/H: 51cm/ W:13cm white earthenware, underglaze, clear glaze, gold lustre.

Portrait photo by Madeline Cousins Www.lenapeters.co.uk instagram: @_lenapeters Represented by David Gill Gallery

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Wendy Kershaw

The Windy Day Girl Wall hanging illustrated porcelain, cutout and mounted above a background. Inspired from a poem by the Scottish poet John Rice.

She uses porcelain to illustrate an intimate world in which small acts of everyday life are imbued with importance. A sensitive balance of bold composition and subtle detail results in a rich narrative that is both weighty and humorous.

Work has playfully interpreted proverbs and poems, and recent work deals with anticipated small joys, often the joy of pudding.

Size - 14cm x 20.5cm £180 https://www.etsy.com/uk/s hop/WendyKershawCera mics?ref=search_shop_re direct Etsy shop WendyKershawCeramics

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Kathryn Hearn

Bale & Cinnabar Wall Piece Handbuilt porcelain collection which has evolved over eight years since she left London for the Cambridgeshire Fens.

The work is a culmination of that experience with living in an idiosyncratic industrial agricultural environment. She began with representing the neverending vistas of flat arable land and it's merging with the sky.

The key attributes she wanted the work to embody was craft, uncompromising construction, elements of tenacity exemplified by the use of porcelain flax paper clay. With forceful and curious notions both in the construction and its visualisation.

Handbuilt porcelain flax paper clay with body stained inclusions and Dolomite Glaze.

34cm x 7cm £650 mailto:kathrynhearn75 @gmail.com

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Emerging Potters – Issue 19

Sam Lucas

Diverge A sculptural ceramic piece made from grogged terra cotta, vulcan clay and porcelain which was one of the smaller pieces for the installation 'Same but different' - AWARD 2019 at the British Ceramics Biennial at the Spode works Stoke on Trent. It seems like quite a poignant piece now in this current situation of self isolation, social distancing and wearing protective head gear. She is a symbol of the Covid experience .

H140cm 41cm 44cm Photo: Sylvain Deleu https://www.samlucas.com https://twitter.com/spa m0ntoast mailto:earthbound67 @hotmail.com

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July- September 2020

Jessica Duffy

Sculptural Spheres These decorative sculptures have been designed to be displayed in a set or separately. The materials are Ashraf Hannah’s white stoneware clay for the main body, with a high firing glossy white glaze over the top that softens and highlights the luxurious forms and textures. All are hand crafted from start to finish as she believes using traditional handbuilding techniques keeps you grounded to the material in a forever growing technological world.

The baroque shapes are reminiscent of an old English heritage. http://jduffyceramics.c o.uk/ Instagram: J.duffy_ceramics Facebook: Jessica Duffy Ceramics

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Emerging Potters – Issue 19

Alice Funge

A wheel-thrown plate designed for that little afternoon tea time treat, decorated with coloured slip and a scone recipe in her late grandmother's handwriting. The plate has some subtle throwing rings as a nod to the handmade process. It comes from her collection of domestic ware.

At her first New Designers show, Alice won the prestigious ‘National Trust Associate Award’ which was followed by a major commission from the National Trust. In the following year, at ‘New Designers: One Year In’, she was awarded the ‘Country Living Associate Award’.

Today, she continues to produce new work for galleries and shows across the country at her studio in Warwickshire Price of plate £35 www.alicefunge.co.uk t: 07948838669

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Emerging Potters – Issue 19

July- September 2020

Verity Howard

Shroud: Sacrificial Stone Series Black Stoneware Clay, coloured slips and underglaze.

Dimensions: H40cm x W34cm.

Verity is a ceramic artist who responds to subjects surrounding people, history and places. By creating slab built works she captures feelings, moods, atmospheres and a sense of place.

The ‘Sacrificial Stone Series’ is inspired by the work of Alfred Watkins, a naturalist in Hereford in the early 1900’s. The title ‘Sacrificial Stone’ came from one of Watkins’s maps drawn when researching into his theory on Ley Lines.

Website: www.verityhowardcera mics.com Photos courtesy of Dan Barker Studios.

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Emerging Potters – Issue 19

Claire Murdock

Bottle Vase - hand thrown on the potters wheel in white stoneware clay fired to cone 8 in oxidation.

Signature Tenmoku & Nuka glaze.

She is known to millions of TV views for her part in the 2020 Channel 4 programme Great Pottery Throw Down competition, and also for being the first ever maker selected from Northern Ireland.

During her time on the show she managed the hat trick - three ‘potter of the week’ wins. They were: Episode 1 breakfast set, Episode 4 - slip cast vases Episode 8 - pit fired ginger jars. https://clairemurdockce ramics.com

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July- September 2020

Daniel Boyle

Flask Thrown and assembled, salt and ash glazed stoneware fired with gas to 1300C. Price - £360 Daniel makes one-off thrown salt and ash glazed stoneware. He explores unconventional firing processes to enrich his thrown pots, which are contemporary and individual. Vibrant slips and ash glazes are used which encourage the firing process to leave its mark on the ware, developing textures and movement within the fluid glaze, producing unique works to be explored beyond their surface.

Daniel has lived and worked at his studio in Wales since 1991.

Website danielboyleceramics.com Instagram and Facebook danielboylecera mics

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Emerging Potters – Issue 19

Kaitlan Murphy

Kaitlan is a Canadian a carpenter/ potter based out of Revelstoke BC. In April 2014, she began to build her tiny-house pottery boutique called Jumping Creek Pottery. The pottery has grown over the years to a wholesale line and direct sales through the studio and through shows. Feel free to contact her if you are passing through Revelstoke.

The pottery she makes is directly influenced by a love of good food, quality craftsmanship and nature. Her days start early when she goes outside to hike, bike, run, kayak or ski in the surrounding mountains. Fresh air, time alone and heartbursting scenery ground her and provide perspective for the day ahead.

Jumping Creek Pottery 250-837-3597 info@jumpingcreekpotter y.com jumpingcreekpottery.com

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July- September 2020

Diana Tonnison

Developing new work in lockdown!

Diana’s new project work is developing her ceramic art for distinctive mosaic compositions. Rather than using bought mosaic pieces or broken pottery she is using her own ceramic art. After firing, Diana has a nerve racking, but cathartic, go at smashing it up! By smashing it into pieces it enables her to recompose it into a new design, covering a larger area than the kiln shelf allows. This work gives the potential for making her art not only for large wall pieces, but also for table tops, unique one off splash backs, birdbaths and garden or conservatory art. No worries about the artworks fading in strong sunlight.

Diana Tonnison Ceramics and Paintings www.dianatonnison.co.uk Instagram diana_tonnison_ceramics Facebook DianaTonnisonCeramics Pinterest /dianatonnison

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Emerging Potters – Issue 19

Ian Thompson

This recent group was initially born from studying the works in the British Museum of Assyrian reliefs, which he has been getting to know in greater detail since 2015. The use of 'fields' or bands, such as a kind of frieze are really a response to the steles and Greek ware and reliefs of antiquity and work very well as a means of containing the wildly contrasting textures and imagery.

Each layer of 'frieze' is carefully carved to work as part of the whole composition and allows great freedom in developing imagery.

Dimensions, 12 cm wide 60 cm tall ian.thompson@network .rca.ac.uk

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July- September 2020

Mitch Pilkington

Originally made for Ceramic Art London, called 'Spirit'.

The work is highly grogged stoneware and porcelain clays, often coloured with body stains and surface treatments of slips and oxides.

H68cm W36cm.

Hand built with coils in stoneware clay with white slip surface treatment.

Price £2,500.

Contact via DM on Instagram @mitch ceramics or email: mitch@mitchpilkin gton.com

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Emerging Potters – Issue 19

Jessica Thorn

A new experimental body of work inspired by the forms of antique inkwells and utilitarian jars, this collection of porcelain vessels combines her slab building skills with a technique new to her, throwing. The top of this bottle has been shaped on the wheel leaving the throwing lines for a subtle texture and the base has been slab built. After leaving the individual components in boxes for a few weeks they are all constructed with a dark slip. Peering inside the clear glazed vessels you can continue to see the construction of this piece and when held to the light this is exaggerated through the translucency of the beautiful material.

Price £45 H: 11.5 cm and W: 5.5 cm Website www.jessicathorn.co.uk Instagram @jessicathornceramics

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Emerging Potters – Issue 19

July- September 2020

Frances Spice

Her most recent work is a lidded pot. It is slab built in black earthenware clay, with the three crows on the lid which are hand modelled. It could be used as a tea caddy and is priced at £130.

H: 14cm, L 14cm and W: 10cm.

Her pots are handmade from slabs of white and black earthenware clay. With hand modelled details such as handles, spoons, birds, and fish. Each piece is carefully hand painted with underglazes. She also use various glazes, oxides, stains, ceramic pencils and gold lustre to decorate the work.

Because she prefers a matte finish beeswax is rubbed into the exterior. Each piece is fired three times. Often decorated with subtle flowers and leaves, delicate lace is impressed onto the surface to create beautifully textured marks. https://francesspicecer amics.co.uk

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July- September 2020

Rebecca Proctor

Rebecca is a potter based in North Cornwall. Using stoneware clay, she makes hand thrown tableware in clean, simple forms with natural character. The pots are strong and functional, designed for daily use, either at home or in a busy restaurant.

The pottery is made in a small workshop near Bude on the Cornwall and Devon border. This landscape where coast meets countryside is rich in natural resources and several local, raw materials go into the work; clay is collected from local quarries and beaches while ash for glaze comes from various trees and plants.

Portrait photo Anya Rice.

The vase shown is wood fired stoneware with Shino glaze and iron brushwork. https://rebeccaproctor.co.uk

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July- September 2020

Sarah Monk

She has always been obsessed with designing soap dishes.

Originally making one just for herself. A change to solid shampoo to reduce plastic waste was the motivation and she needed a soap dish of some kind. Her soap dishes are mostly slab built with soft pie crust rims, splashy slips and random sgraffito marks.

Holes and raised bits are important to allow the soap to dry out. She has been making small exclusive batches to sell in her studio shop and on the website during ‘lockdown’.

Shown is a dinky slipware colander bowl suitable for a nice chunky soap! Price: £40 and available from the online shop.

Tel: 01531 633886 email: admin@eastnorpot tery.co.uk http://eastnorpottery.co .uk/contact-us/

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Emerging Potters – Issue 19

Sue Moreton

Victory Woods This large vase is one of a series which are inspired by the Kent countryside and Kentish towns.

She throws the pot in two halves, and makes the designs at the leather hard stage, aiming to represent the essence of a place with landmarks, features and place names impressed into the clay.

The surface interest is further enhanced after biscuit firing with oxides, wax masking and glazes and fired to stoneware 1240 c.

It is 37 cm in height and costs £450.

Instagram @suemoret onceramics email suzannejanemoreton@ gmail.com

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July- September 2020

Alison West

Saggarfired Porcelain Vessel H:24cm W:15cm Her pots reflect the experience of living in Japan. She does not consciously aim to create Japanese style pots, but there is an influence of traditional form.

Saggar Firing is the method of creating confined atmospheres within a container. Using local organic material such as ferns, seaweed, leaves, grasses and naturally occurring minerals, she creates an environment of combustible materials and mixing of the elements to create unique, unrepeatable transference of colour, pattern and texture without glaze. Pots are sealed for stain resistance and food safety. http://www.instagram.co m/alisonwestceramics/ Cost £240

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July- September 2020

Hannah Walters

Vase with Flowers Porcelain and crank clay.

15cm(w)x25cm(h) Price £200.

This work was created in response to the Nant Garw porcelain currently in Aberystwyth ceramic collection and archive. She created delicate sprigs based on the ornate floral imagery that had been painted onto the antique porcelain.

Combining this intricate imagery with the cruder use of contemporary symbols and the material clash of porcelain with crank clay created this contemporary reinterpretation of a vase.

website: www.hannahwalterscer amics.com instagram: @hannah.walters.cera mics

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Emerging Potters – Issue 19

Manuel Calvo

Pangaea 1 Black and white grogged stoneware H:47 x W:14 x D:17 Price £400 This ceramic is part of a sculptural body of work evoking geologic strata, living forms and ritual objects around the theme of the formation and split of the prehistoric Pangaea.The piece was thrown and altered with handbuilt sections and single fired to Cone 6.

His drawn work is influenced by the occidental tradition of chiaroscuro and the work of Goya and William Kentridge, www.quiromanu.com Photo above: The Kiln Rooms @natmartinezphotograp hy

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Emerging Potters – Issue 19

Julie Massie

Changing Circles in Red She takes inspiration for her artwork from the Jurassic Coastline which is a beautiful, interesting and internationally important place because of it’s fragility.

The colours of the sea and the fragility of this coast are both reflected within her final outcomes.

Her work also explores the senses, especially touch, sight and sound.

She is due to be exciting at the OXO Gallery, London in September followed by a show at the Craft Potters Association in Oxford.

Currently the work can seen at the Eastgate Gallery Totnes. Although closed it can be viewed on line: https://eastgategallerytot nes.com Price: £1300 https://juliemassie.co.uk

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Emerging Potters – Issue 19

Laura Plant

The group of three began with the tall jug and grew as the two vases were designed in response to a work placement in China.

The pieces are slipcast bone china with a hand poured wash of stoneware glaze. Her work uses form and function as a vehicle to explore and highlight the subtle and unique surface qualities of ceramics.

She combines traditional industrial processes with craft skills to create the work. Material exploration is at the heart of the design process. She loves exploring the qualities of the ceramic surface.

Pouring the glaze allows slight variations in thickness and an organic line where the glaze ends. The balance between chance and control means that whilst the design is the same, every piece is different. Exposing the beautiful surface of the clay body also creates a contrast with the glaze. This is further highlighted when layered with print.

Mailto:lauraplantdesign@g

mail.com

July- September 2020

Emerging Potters – Issue 19

Jane Sarre

Overshadow Wall piece Reduction high-fired ceramic with vitreous slip oxides and stains, 2020. £600 H: 48 x L: 28 x W: 8 cm New place-based sculptural ceramics. Inspired by Dungeness and exploring the dissonant landscape there.

Rooted in the slow perception of place - and particularly functional architecture - the abstract forms are developed first in the studio using photographs, collage and tape drawing. The construction of each piece is driven by forms and views on site, using handbuilt ceramic forms that are reduction high-fired with patinated surface treatments layering vitreous slips, stains and oxides to evoke the ambivalent relationships manifested there. http://www.janesarre.co.uk/

July- September 2020

Emerging Potters – Issue 19

Sam Walker

The pieces shown are slab built mugs using dark earthenware clay. It is decorated using coloured slips, applied using stenciling. The price is between £28 and £40 per mug plus p&p Her inspiration comes from the love of pattern and colour, as well as hints to textile construction.

Though she did not go through any formal training, she has spent a long time experimenting with techniques best suited to applying pattern to the surfaces of the pieces.

Often the work is made from flat slabs of clay.

Coloured liquid clays, called slips, are applied to the surface before the slabs are constructed into their 3D forms. https://www.samwalkercer amics.co.uk/contact and on Instagram

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Thrown Gallery

Claire Pearce (Director) In her recent show, she has been really excited about the work of Nina Salsotto Cassina whose project ''Unurgent Argilla' is a beautifully considered wild clay project based around South East England. Each pot she makes is stamped on the bottom with the location of the clay it's made of and she also takes a corresponding photo of the site to document it. You can find her on instagram via unurgent.argilla.

Established in March 2018 Thrown Gallery is a response to the current uprising of ceramics within contemporary art. The gallery represents internationally acclaimed names alongside emerging talent, providing a much-needed platform for makers finding their identity as artists.

Thrown, 26 Highgate High Street, London N6 5JG gallery@throwncontem porary.co.uk

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July- September 2020

Crafts Council Report The Market for Craft Commissioned by the Crafts Council and Partners The first report to identify and gauge appetite for British craft for over a decade reveals our passion for craft has never been greater – 73% of UK adults had bought craft in 2019 – snapping up almost 25 million handcrafted objects. In a significant shift, almost a third (32%) of today’s buyers are aged under 35 – making this demographic the biggest buyer of craft today.

The report was implemented by the Crafts Council and eight leading national partners* (among 5,000 UK residents, 1,500 US citizens and 1,700 professional makers and implemented prior to the COVID-19 pandemic. It has subsequently been layered with a further Crafts Council survey carried out among 573 UK-based makers post lockdown.

decade. However, the report also showed that the majority of British adults still prefer to buy objects in-person.

The export potential for the UK craft sector is highlighted - 2.5m people in New York and 1.7m in Los Angeles have purchased craft from a UK-based maker, but a further 6.9m across the two locations said that they would be likely to buy UK craft in the future. This represents a sizeable untapped market for exports.

Both existing buyers and potential buyers of UK crafts are prepared to purchase craft online with Etsy, Made by Hand and Made.com all proving popular. Potential buyers are also more likely to purchase direct from a makers' website in the future. However, browsing face to face is still the preferred option when buying craft.

The cost of shipping is the main barrier to buying UK craft, which is why the Crafts Council are looking to create a UK-wide export programme to build on the US potential.

The maturing of the craft market in the UK can be attributed to a number of wider trends that are likely to accelerate as a result of the pandemic – the rise of e-commerce, In terms of how the Crafts Council is promoting investment purchases over throwaway ceramics: objects, and an interest in sustainability and They have commissioned a review of their sector supporting small businesses. training offer, and the need to increasingly focus on digital marketing and e-commerce 10.3m Brits are buying craft online - a figure expertise for makers due in September 2020 that has more than tripled over the last

Emerging Potters – Issue 19

July- September 2020

Crafts Council Report The market for craft in New York and Los Angeles is significant – 84% of the adult population of New York (12.8m people) and 86% of the population of Los Angeles (8.8m people) have either bought craft in the past or would consider doing so.

As is the case in the UK in 2020, the market for craft in both cities is dominated by people who have already entered the market and bought craft – 10.7m (70%) in New York and 7.5m (73%) in Los Angeles. This market of buyers is also actively buying, with 7.4m people in New York (49%) and 5.1m (50%) in Los Angeles having bought craft from a living maker in the past two years.

There is also already a market for UK craft in both cities, with 2.5m people in New York and 1.7m in Los Angeles having bought craft in the past from a UK based maker. However, given the high numbers of craft buyers in both cities, these figures currently only represent a 23% penetration rate into the overall market of existing buyers of craft – leaving significant room for growth.

Nevertheless, this existing market for UK craft is an ‘active’ market, 1.7m people in New York and 1.1m in Los Angeles had bought craft from a UK based maker in the past two years.

This existing market for UK craft is also likely to be a retained market, with 2.2m people in New York and 1.4m people in Los Angeles who have bought UK craft in the past indicating that they’d definitely or probably buy craft from a UK based maker in the future. These figures represent retention rates of buyers of UK craft of 87% in New York and 81% in Los Angeles. https://www.craftscouncil.org.uk/content/files/CCMarket_for_Craft-Final.pdf (copy and paste the link)

Emerging Potters – Issue 19

Recent Books Ceramique 90 Artistes Contemporains Charlotte Vannier & Veronique Pettit Laforet Pyramyd éditions 34 rue Greneta 75002 Paris 01 84 25 75 34 ISBN 978-2-35017-456-3 From Clay to Kiln Stuart Carey Search Press ISBN 978-1-78221-809-8 China’s Porcelain Capital The rise, fall and reinvention of Ceramics in Jingdezhen Maris Boyd Gillette Bloomsbury Academic www.bloomsbury.com ISBN HB: 978-1-4742-59415 hardback ISBN 978-1-3500-4482-1 paperback Ceramics and the Museum Laura Breen Bloomsbury Press ISBN 978-1-3500-4782-2 Pottery You Can Use Jacqui Atkin Published by Search Press ISBN: 97878221560-8

July- September 2020

Emerging Potters – Issue 19

Recent Books Carve Your Clay Techniques to bring the pottery surface to life

By Hilda Carr £12.99 9781782218524 Published by Search Press Ltd in 2020 Focusing on the pottery surface this book covers a wide range of decorative carving techniques, from incising, combing, inlaying to sgraffito, faceting and fettling.

The techniques are taught through 16 projects with clear stepby-step photographs and easy-to-follow instructions. With easy guides on how to create form as well as information on glazing and firing, this is a comprehensive guide suitable for potters of all skill levels.

July- September 2020

Emerging Potters is produced quarterly and can be found on the ISSUU platform or contact the editor e: paulbailey123@googlemail.com

Aylesford Pottery is situated in the grounds of Aylesford Priory, just outside Maidstone in Kent. It is one of the few remaining commercial craft potteries.

There has been a pottery on the site of Aylesford Priory since 1954, even though the Priory itself dates back to 1240. The first person to run the pottery was the leading English craft potter David Leach, who was in turn succeeded by Colin Pearson.

Aylesford Priory has always inspired the creative arts, and alongside Leach and Pearson the name of Adam Kossowski plays an important part. It was he that produced an extensive range of ceramic friezes that illustrate parables from the Bible which today can be seen in chapels all around the Priory estate.

Today the pottery is run by Alan Parris and Billy Byles. Both master potters in their own right. They took over the pottery in 1999.