Emerging Potters magazine July - Sept 2022

EMERGING

Issue 28 July to September 2022

Potters

Emerging Potters - 28

July – September 2022

Introduction The online pottery magazine Welcome to the new edition of the magazine. Sorry there has been a delay, but this was caused by illness and the shows happening at the end of June. This year has seen a burst of activity as students can once again show their work in person the public.

Given the sheer volume of work on show I have tried to be as selective as possible and cover as much as possible. If I have missed anyone it is not deliberate, and I will do my best to include them in future editions of the magazine. If there is any specific maker you would like to know more about let me know and again I will do my best to include them.

Although not included here the commercial shows have been very successful up and down the country, with special reference to Potfest. The new show ‘Only Clay’ is due to take place this September in Sheffield and will showcase the countries leading makers.

Front cover: Rosie Stonham, Royal College of Art

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.

Above: Zoe Weisselberg RCA 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 2022 Emerging Potters is produced in association with Aylesford Pottery UK.

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July – September 2022

Contents Royal College of Art: p3 – p12 Ceramics & Glass Central Saint Martins UAL p13 – p18 Morley College p19 - p22 New Designers p23 – p29 Book Review p30 Southern Ceramic Group p31 -p32

Leora Honeyman 2

July - September 2022

Emerging Potters – 28

Royal College of Art This year’s show has used the display space to present the work in one area for the ceramic, glass and jewellery students. The space works, and the abundance of natural light is welcome.

So what do you get for your effort in making it via public transport to see the show? First impressions are a very thankful return to experimentation, fun and students ever keen to talk about their work. No doubt a relief after the restrictions caused by Covid.

With so many students from around the world exhibiting it would seem unfair to focus on just a few, as they were all in their own outstanding, and each deserving a feature just to themselves.

One noticeable trend though was the emergence of a multi media approach in the material used, and an exploration of digital technology to express new ideas.

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Right: Noa Chernichovsky, Facing the Plenty, Earthenware and glazes

Emerging Potters – 28 Royal College of Art

July – September 2022

Rosie Stonham 3D printed ceramic and hand blown glass (right) Following a BA in Product Design at central Saint Martins, she designed for high-end homeware-ware brands before starting at the RCA. Since coming to ceramics and glass she has been exploring a conceptual approach to creating functional objects. She uses digital and hand-made techniques to explore personal narratives. mental health and the idea of embodiment. The installation features blown glass and 3D printed ceramics, exploring a fantasy of the inside of the body, celebrating the imagined colours and surfaces which generate consciousness.

Sogon Kim Glass, silver leaf, metal oxides For Sogon geoscience and the world of space have always evoked her curiosity. How would it be formed? This question fascinates her with the moments when materials are being shaped and colored.

The work resembles the world of space and earth sciences, where expectations are possible but not accurately predicted. The process of imagining beyond the landscape and at the same time capturing the moments of reaction between materials evokes the feeling of showing a huge universe through a small lens.

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Emerging Potters – 28 Royal College of Art

Gayi Soori Glazed stoneware with coloured porcelain inclusions.

The series is inspired by white blood cells engulfing and dissolving invading microbes, a process alluded to in the method of sandblasting through layers of coloured porcelain.

Leora Honeyman Through hybridities of pattern, materiality, purpose and technique, she has created a range of objects which give physicality to an imagined heterotopia.

Leora is a QUEST (Bendicks) scholar.

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July – September 2022

Emerging Potters – 28 Royal College of Art

July – September 2022

Ruth Mae Martin (above) Porcelain, stoneware, glaze For Ruth the objects we choose to surround ourselves with are a lens for who we are. They act as vessels for memories and inform how we learn about the world. The work explores this by using objects autobiographically, each piece visits a specific memory.

Alice Foxen Slumps, squishes, spreads Stained porcelain, foaming clay Supported by The Grocers Company Scholarship, MA Ceramics & Glass

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Emerging Potters – 28 Royal College of Art

July – September 2022

Caroline ChoulerTissier (Left) Unlikely Balance Point.

Porcelain and stoneware clay.

Her research of ancient artefacts contributes to the interpretation of our story, embracingambivalence of memory and recorded history. It is a reference for the rawness and vulnerability of our inner experience, and explores how social expectation inhibits our actions and ability to express an authentic feeling.

Karlina Mezecka Ceramics, glass, steel

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Emerging Potters – 28

Royal College of Art

Noa Chernichovsky

Earthenware and glass Her work aims to spotlight on everyday physical things that we often overlook, which she reconstructs into surreal pieces.

Naeun Han (right) Florescence. Porcelain, metallic wire and glass.

She is inspired by the short and long time of ‘moment’. It is the first reflection of eternity in time. Its first attempt, as it were, at stopping time.

July – September 2022

Emerging Potters – 28 Royal College of Art

Zaratea Garden Hurtig A sunny place for shady people. Stoneware, glaze, vitreous slip, metal leaf, wood, solder Her work is as much a parody on, as an appreciation of the everyday.

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July – September 2022

Sofia Christoforou (below) The Explorations of a Curious Mind. Stoneware.

She immerses herself in a spontaneous and instinctive flow state of making that results in sinuous tactile forms of poetry. She explores forms, in a quest that embraces the liminal state.

Emerging Potters – 28 Royal College of Art

July – September 2022

Caz Hildebrand (above) Lost and Found Earthenware and glazes The work is concerned with making connections between the past, present and the future. She has created a lexicon to reflect themes of memory loss and reparation

Elizabeth Degenszejn Release. Parian Clay Sculptural ceramic forms that express the conflict between conformity and independence.

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Emerging Potters – 28 Royal College of Art

INger Sif Heeschen Stages (above) Glazed Earthenware The work explores notions of origin and progress through a translation of cultural objects and artefacts.

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July – September 2022

Dovile Grigaliunaite Alter. Mouth blown glass (Left).

Each shape is 42.3 cm tall.

Emerging Potters – 28 Royal College of Art

Alice Foxen (Top left) Inert matter, live wire.

Porcelain, glaze and foam. While walking through urban spaces she is curious. Streets are often influx.

Zixuan Wang Salvation. Porcelain. (Above)The focus is to express the work together with the properties of the material.

July – September 2022

Zoe Weisselberg (top right) Imaginarium.

Paper porcelain and glaze.The work involves a sense of jeopardy and improvisation.

Isidoro Rodrguez

Urban Vessels. Local London Blue wild clay. The work is related to the space and time in which we live.

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July – September 2022

Emerging Potters – 28

Central Saint Martins Degree Show 2022 This is the first show since the Pandemic subsided and allowing the public to visit the college. A very welcome return.

Tony Quinn the Course Leader in BA Ceramic Design made the following points in the catalogues introduction. “The last few years have been extremely tough for everyone across the art school community. The students exhibiting here have shown great fortitude, patience and tenacity with all three years of study impacted in one form or another by the Pandemic. From lockdown learning, online teaching with students working in improvised home studios in the kitchen or shed, to mask wearing and social distancing in the ceramic studios. This has been one of the most complex and strange periods of time for our course community, ever!

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“One constant during this turmoil has been our connection with the supercharged emotional material clay. In one respect we have been lucky to have this ubiquitous, transformative and rogue material keeping us on our toes, keeping us honest, keeping us engaged! As educators we had the problem, how do we keep our students engaged and enthused, learning a visceral experimental discipline online. The answer was simple in the end, we sent them clay!

“The students have mastered the Pandemic, they have mastered their ideas, the processes and techniques and they have stayed connected and in tune with clay. If they can so all that and produce amazing work, then they can pretty well much do anything”.

Emerging Potters – 28 Central Saint Martins

July – September 2022

Students: Ben Nicholls Chloe Coding Erica Tung Fiona Tran Joanna Aymard Kaitlyn Rose Barnes Layla Simner-Lock Louise Gooden Lucy Quinlan Nicha Lapevisuthisaroj Oriona Sejdiu Paprika Skala Williams Ruby Cheng Wai Sin Saachi Dubey Sarah Beresford Shao Qi Tan Tracey Stapleton Victoria Coxall Vidhu Patel Vlad Andrusceac

Ben Nicholls (above) He originates from Kent and now lives in London. His work has led him to investigate his interest in the typology of thrown forms, and his travels has significantly impacted on the work.

Chloe Coding She was born and lives in London. An artist and ceramicist whose practice is focused on the exploration of surface desgn and print. Her forms are from hand-building techniques such as coiling and slab-building.

These skeleton creations are then used as a canvas in which pattern, colour and illustration are applied.

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Emerging Potters – 28 Central Saint Martins

July – September 2022

Layla Simner-Lock (left) Her work aims to subvert people’s expectations of the medium by creating pieces that intrigue and deceive. The current work is born out of a recent obsession with weaponry.

Oriona Sejdiu Her research has allowed her to develop over 200 glazes. She uses cupcakes to bring a sense of playfulness behind the work.

Kaitlyn Rose Barnes Her practice is a material investigation into Egyptian paste.

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Emerging Potters – 28 Central Saint Martins

July – September 2022

Sarah Beresford Orginally from Lancaster, she draws inspiration from unfinished cooking pots.

The nature of these pots simultaneously signifies the unfinished nature of women’s work.

Papprika Skala Williams from Poland (below). The plate design was developed while at the Cmielow Porcelain Factory in Poland, Subsequently shortlisted at the London Design Festival.

Ruby Cheng Wai Sin (above is a Hong Kongnative conceptual artist and ceramic storyteller focusing on provoking empathy and emotional connections.

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Emerging Potters – 28 Central Saint Martins

Victoria Coxall (above) is an environmental artist and founder of Slow Ceramic. All the materials used in her designs, inchluding sculptural pieces, are either recycled or locally sourced and represent the embodiment of a lifestyle.

Tracey Stapleton works and lives in Essex, on the boarder with London. She makes tiles using photographs and other images. All of the tile designs produced in her final year are symbolic to the artist as they hold a memory or significance from a time and place.

She has exceptional carving skills which allow her to bring two-dimensional images into three dimensions using relief work with clay.

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July – September 2022

Emerging Potters – Central Saint Martins

July – September 2022

Joanna Aymard She is originally from Paris and focuses on the exploration of shapes, colours and textures.

Her main work involves porcelain or paper porcelain. Here she has made a series of lamps that are a representation of her own experiences.

Louise Gooden She reflects upon the imagery of wartime displacement, conveying a sense of being compacted and crushed in both the artifact and the abstract.

Her current body of work exploits the materiality of clay, giving form to the concept of compression and intense pressure.

Shao Qi Tan She originally comes from Singapore and is both an artist and ceramic designer.

Her work highlight the delicate tension between strength and fragility, referencing the structural resilience found in both the man-made and natural worlds.

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Emerging Potters – 28 Morley College

July - September

Morley College This year’s graduates from the Morley HND College have exhibited at the New Designers show at the London Business Centre, 29th June- 2nd July, following on from their successful graduation show, Elements, at the Morley College Gallery.

They came together in the midst of the pandemic, from different professional backgrounds sharing a passion for ceramics. These quieter times gave them the opportunity to immerse ourselves in the ceramic studio and extend their making skills that included; traditional hand building and throwing techniques, together with, producing plaster moulds.

They were encouraged to explore the materials together with testing additions in saggars and mixing their own glazes. Whilst they nurtured individual creative styles, they also developed conceptual understanding, reflecting on how the work connects to the world of contemporary art.

In addition, they were schooled in the business aspects of being a ceramicist, developing professional skills of designing a product and pitching this to a market.

For all those involved it’s been a tremendous learning journey which they will treasure, having learned from skilled tutors and supportive colleagues.

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Barbara Sulzberger The work explores human relationships and the bonds we develop to nurture these relationships. The vessel can be interpreted as a metaphor fort he condition of our emotional lives and relationships.

Emerging Potters – 28 Morley College

July – September 2022

Susie Lonie The work is sculptural, playful and quirky. She senses other worlds just beyond our reach and tries to capture something of their essence, giving each piece a unique personality.

The piece opposite Scorpio the scorpion – from the 13 Zodiac Constellations series of vessels is glazed slip cast earthenware elements, hand built with alterations.

Belinda Murray Since childhood she has expressed herself with clay. Inspired by the environment, especially the natural world and drawn to organic forms.

She plays with classical shapes adorning them with botanical elements and high gloss glazes creating a balance between uniform and unique.

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July – September 2022

Emerging Potters – 28 Morley College

Richard Innes

Vladka Thwaites

He relished the challenge of throwing big pots having been seduced by the ancient Greek red and black vases in the British Museum and wanted to explore the possibilities of re-interpreting these pots in the modern world. Material: Earthenware with terra sigillata and glaze.

In the ‘Pavement’ collection, it reconceptualises the Ancient Greek ‘lekythos’ form through coil building with black clay. After bisque firing, it is then embellished with impressions of the ironmongery of London pavements, taken during long walks negotiating the urban landscape.

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Emerging Potters – 28 Morley College

July – September 2022

Laura Gibbs This work is made from bone china casting slip mixed with paper pulp. She casts large thin sheets, adding texture to the surface which is then shaped in to cylinderical forms. The pieces are fired to cone 8 and then saggar fired in an electric kiln at cone 06 with copper wire, wire wool and combustibles.

She wants the work to invite exploration and curiosity, stirring memories within multiple layers and hidden depths. With this collection she has used bone china to slip cast and hand build the sculptural pieces, adding an element of risk and uncertainty to the forms as the material warps and melts in the firing process.

Belen Duarte She is interested in proposing my work under the conceptual idea of LOVE, and to portray the different perspectives and multiple possibilities that this subject offers, using clay as the main element, alongside film, photography, her own writing.

She is considered a conceptual artist, when the work is related to an idea.

Subject : Female Belly ( part of the Serie “she, you, I ”) Clay. Dry Glazes

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Emerging Potters – 28 New Designers Show 2022

July – September 2022

New Designers 2022 Building Design Centre, London

This is a show which takes looks at the courses run by the art colleges from around the country to showcase the rich talent that is available. The Building Design Centre is a venue in Islington, north London and close to the home of the Crafts Council.

One of the sections of the show is called “One Year In’ and is for those makers who graduated several years ago. Here we have chosen the ceramic students only due to space in the magazine, but there was a very strong showing from the other disciplines also.

Louise Bell

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Emerging Potters – 28 New Designers Show 2022

July – September 2022

Momoka Gomi Nicola Martin

Ania Perkowska

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Emerging Potters – 28 New Designers 2022

New Designers Show – Morley College

Barbara Sulzberger Richard Innes

Susie Lonie

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Laura Gibbs

July – September 2022

Emerging Potters – 28 New Designers 2022

July – September 2022

New Designers Show – Grays School of Art Diana’s work i(below) s inspired by nature and by ‘what we don’t see’. She uses macrophotography, which help see fine detail. The work focuses on black and white shades to heighten the appearance of texture and line.

She works with black textured clay, which needs to be fired only once. After firing, the clay has a matt finish with a heightened sense of natural texture.

Diana Gerasimova

New Designers De Montfort University Helen Roberts

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Emerging Potters – 28

July – September 2022

New D esigners NTU Decorative Arts Salma Hagras (Top) Daisy Whitem an-Ley Elise Argent (Above right)

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Emerging Potters – 28

New Designers Show

July – September 2022

Swansea College of Art

Bethany Coram Carwyn Llewellyn

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Emerging Potters – 28

New Designers Show

July – September 2022

University of Hertfordshire

Design Crafts

Denise Johansen

Minal Carter

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Emerging Potters – 28

Book Review Basic Pottery Making Published by Stackpole Books and is available through Search Press. www.searchpress.com T: (0)1892578927 Available from the 31st October. £18.99 If you are looking for a book that covers all the detailed step by step procedures need to successfully throw pottery on a wheel then this is a must to add to your library.

Pottery by its very nature is a solitary pursuit so a good reference book detailing all stages of production is a must.

It is clearly written by Mark Fitzgerald with lavish photo’s by Jason Minick.

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July – September 2022

Emerging Potters – 28

July – September 2022

Southern Ceramic Group

Putting on an exhibition “Pictures at an Exhibition” is Mussorgsky’s 1874 piano suite later orchestrated. “Pots at an Exhibition” 2022 is being prepared by members of the Southern Ceramic Group (SCG) for their annual summer exhibition. No orchestra but there will be plenty of inspiration from more than one hundred and seventy enthusiastic ceramicists potters! - who live and work in the south of England. SCG members share a passion for creating in clay, members as diverse as their creations. Some have spent a lifetime perfecting their craft while others have just begun, after careers ranging from engineering to medicine to dance and teaching.

Each year, the SCG hosts exhibitions for work to be viewed and sold. The most important is their annual, two-week exhibition:

Bishop’s Kitchen in Chichester Cathedral from 30th July until 14th August.

Bishop’s Kitchen is easy to find, right in the city centre, a café on site, history on the doorstep – not to mention the shops and carparks within easy reach. Enter it in your diary.

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Emerging Potters – 28 Putting on an exhibition

This year seventy-three members are exhibiting, five for the first time. The exhibition is a wonderful collaborative enterprise - everyone has a part to play. Most exhibitors spend at least a day acting as stewards during the two weeks as well as helping with other aspects of setting up the exhibition.

Work begins six months before the exhibition with the appointment of an exhibition manager who contacts the members to ask if they would like to participate. Members are given a window of time to apply, pay their entry fee to secure their place and specify with which jobs they would be willing to help. Some jobs are more fun than others but all are essential to the efficient running of the show and enhancing visitors’ enjoyment. Here are some of the tasks and teams which exhibitors help with: • Publicity team • Plinth painting team • Printing/Laminating of exhibit labels • Preparing artists’ portfolio folder • Setting up plinths and lights • Curating team to set up the display • Checking in work before the exhibition and checking it out after the exhibition • Organising the private view and providing refreshments • Creating the schedule of members to steward and sell the work • Taking down the plinths and lights at the end of the exhibition • Finance manager

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July – September 2022

‘It’s a real thrill to have my work sold as the SCG Exhibition. I have been exhibiting there for the past five years and I always like to come up with new work to display.’ Gill Waller

Exhibitors are asked to submit new work rather than resubmit work previously shown at the exhibition. Members can submit up to fifteen items each. Two months before the event, exhibitors must provide good quality publicity photographs for our website and social media.

One month before, exhibitors list work they intend to submit together with a description of each piece and its price. 25% of the purchase price is retained by the SCG as commission to cover the exhibition’s costs.

The SCG has Public Liability and Employee Liability insurance. The former basically covers the possibility of claims from members of the public for any damage or injury they might incur during group events. The latter covers the possibility of claims for damage or injury by any employees, volunteers or helpers who are not members of the group but who (during the exhibition or at other times) help the group. The group’s insurance doesn’t provide cover for damage to work – that has to be covered by the individual exhibitors.

The whole enterprise is one of teamwork, collaboration and shared artistic values.

There is a deep unity of purpose and community as it comes together

Emerging Potters magazine is published quarterly and can be found on the ISSUU platform.

E: paulbailey123@googlemail.com

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