Emerging Potters magazine, January to March 2021

EMERGING

Issue 22 January – March 2021

Potters

Emerging Potters - 22

Introduction In a year of cancelled exhibitions and graduate shows it has been interesting to see the development of internet based platforms using Zoom. The colleges have been able to hold virtual shows of students work and many makers have been able to hold virtual studio teaching.

I wonder how it will develop during 2021 In December The Centre of Ceramic Art (CoCA) in York held its annual Henry Rothschild Memorial Lecture. This year it featured Sandy Brown on Thursday 3 December Sandy Brown was born in Tichborne, Hampshire, and trained for 4 years in ceramics at Daisei Pottery, Japan. She has since become an influential figure in European and world ceramics.

Over 45 museums worldwide hold pieces of Sandy’s work in their collections, including the Victoria & Albert Museum, London; World Ceramic Centre, Ichon, Korea; Frankfurt Museum of Applied Arts, Germany. The Sandy Brown Museum and Gallery was opened in Appledore, Devon in June 2014.

Future Edit: 2020 graduate showcase at the Crafts Council Gallery.

It is a selling showcase of the best craft and design talent from 2020 with much of the work to be shown in the newly opened Crafts Council Gallery from 20 January - 20 February 2021. Details on how to book your visit will be released soon – see their website.

The Crafts Council’s Collect show: International Art Fair for Contemporary Craft and Design returns as a virtual selling fair in partnership with Artsy.net 24 February – 2 March. At a time when they are prevented from using Somerset House, London, collectors will be able to acquire new work by international living makers, courtesy of a collaboration with the global online art platform Artsy.net. Just as it would be for a live fair, sales will open to collectors from 24 February and to a wider audience from 26 February 2021.

Front cover: Aphra O’Connor

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.

Paul Bailey Editor

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 2021 Emerging Potters is produced in association with Aylesford Pottery UK.

Emerging Potters Issue 22

Contents Kirsty Adams Aphra O’Connor

Pages 3 - 7 8 - 10

Donna White

11 – 14

Fiona Gibson

15 - 17

Ceramics Now

18

Anne-Laure Cano

19 – 20

Collect 2021

21

Jean Tolkovsky

22 – 25

Freya Bramble – Carter

26 - 30

Book Review

31 - 32

Emerging Potters – Issue 22

Kirsty Adams

Kirsty Adams From an early age she made things from mud in the garden in Yorkshire. But her mother always had a bag of clay in the house and from around three years old used to play around with that.

I was always interested in different materials.

From the age of 14, she attended a ceramics class on a Saturday morning at the Art College in York and there began to make on the wheel and hand build. From there she decided that ceramics was something to pursue, although by what route at this stage she didn’t know.

After A levels in York she attended a Foundation Course in Art and Design and then Brighton College of Art (Brighton University) for Hons degree in Wood, Metal, Ceramics and Plastics.

Large white porcelain Icelandic moon jar

Next she trained and became an Art teacher.

Around this time she remembered visiting the 1991 ground breaking Visions Of Japan exhibition at the V&A in London and decided that it was something she wanted to experience Japan for herself.

After applying for the JET program (a cultural exchange program run by the Council of Local Authorities for International Relations) she was accepted on to it.

Flights were paid to Japan and she was there for two years 1995-97 from age 25. She struck up a connection with a local pottery near to where she was living in Toyama–ken (the pottery was in Tateyama-machi) and learned the potters’ wheel from the son of the family who ran the pottery. He had graduated from Kyoto College of Art and loved British culture-fishing and The Beatles.

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Emerging Potters – Issue 22

Kirsty Adams

She had work accepted for a competition held by the Nissin Noodle Company whilst in Japan, to make a series of 5 noodle bowls and exhibited them alongside many Japanese ceramicists in Tokyo. She also held a solo show of her work in the local town.

She is driven by qualities of details, line, texture, spontaneity and contrasts as threads running through my pieces. I make tableware pieces in mainly white porcelain with a bronze lustre rim and also larger more one off pieces in white porcelain or onyx black porcelain or stoneware.

Today she makes wheel thrown studio ceramic tableware and one off pieces predominantly in porcelain (white and onyx black). She is influenced by the simplicity of Japanese ceramic forms and use a Japanese wooden comb tool to texture clay surface whilst throwing on the wheel.

Her work is often in a series, exploring a theme from small to large in scale and to juxtapose a very small piece with a much larger piece. Larger pieces also take on a presence and life of their own.

Process is key to her approach to making. The trace of the making technique, in the throwing and also in the poured and dipped glazing techniques.

Wanting to leave the story of how the piece is made, visible within each piece she aims to create beautiful pieces in clay.

It is also important for her to have a element of unknown and discovery within each piece.

For this reason, she often dips or brushes one glaze or oxide over another, so that it creates an element of surprise.

Porcelain moon jars, dolomite and tin, bronze and oxide rim.

Photo: Matthew Booth

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Emerging Potters – Issue 22

Kirsty Adams

Onyx porcelain copper green moon jar 6cm x 17cm Photo: Yeshen Venema

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Emerging Potters – Issue 22

Kirsty Adams

The studio is at home, a workshop at the back of the house, just a few steps from the kitchen.

Having moved north she quickly realised it is a small world and very interconnected in Newcastle. There is the Ouseburn with The Biscuit Factory Gallery, where she exhibits.

There are other studios converted from old factories around that area too ie The Toffee Factory and Mushroom Works. Of course, The Baltic Centre for Contemporary Art (converted from the Baltic Flour Mill) on Gateshead Quay has really helped to enliven the arts in the North East and regenerate the area together with the Sage Centre for Music situated just next door to The Baltic.

Above: Porcelain medium shallow bowl with bronze lustre 21cm x 5.5cm. Photo: Matthew Booth Top: Porcelain with dolomite and tin, oxide and bronze lustre.

14cm x 9cm. Photo Matthew Booth

She has lived in Newcastle since 2014, having moved from London where she was based for 17 years. In Newcastle, she can walk across the Town Moor to central Newcastle fairly easily or can cycle there. It is a compact city and she loves the accessibility of the beautiful Northumberland coast and the countryside of Northumberland.

There are high-end galleries throughout Northumberland eg The Old School Gallery, Alnmouth, where she also exhibits. There is also The Old Bathhouse in Northumberland, an old converted miner’s bathhouse, full of really talented artists and makers, there she joins them for exhibitions as guest artist.

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Emerging Potters – Issue 22

Kirsty Adams

The next aim is to launch a collection of teabowls in early 2021. Tests for these are well under way. Also she is revisiting the love of Japanese ceramics and the training received on the potters’ wheel in Japan. If nothing else, the pandemic and lockdown has given time to reflect on past experiences and slow down and pause for thought in general and the teabowl project is a project that has resulted from this.

Promoting her work through ‘Made London’ with Tutton and Young began in 2014, she also exhibits with The Craft Potters Association in shows like York Ceramics Fair. She won the Crafts Council and National Trust open call in 2017, to create a bespoke collection for the National Trust.

She sells through her own webshop and promotes my collections and work on instagram. Also she selsl through galleries eg Thrown Contemporary, London, the Biscuit Factory Gallery, who also promote her to gallery visitors. Thrown Contemporary Gallery, London, have been selling her work through lockdown and she has made the large Waterfall series of bowls for a gallery window feature with them. Claire Pearce the gallery director at Thrown has been very supportive of the work.

www.kirstyadams.com

Photo above: Harada Family Pottery tateyama Machi, Japan Below left: The Biscuit Factory Gallery, Newcastle Below: The Old School

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Emerging Potters – Issue 22

Aphra O’Connor

Aphra O’Connor Aphra has always been interested in collecting ceramics, and as her parents had an antiques business, she I was surrounded by interesting design objects growing up in Yorkshire.

She did a fine art foundation course at Leeds college of art in 2010 and started using clay as a sculptural material after graduating from Wimbledon college of art in 2014, and later was taught by a local Yorkshire ceramicist John Egerton who opened her eyes to the possibility of clay and discovered that clay was the perfect material to create sculptures.

Next she decided to study at the Royal College of Art (RCA) to broaden an understanding of traditional ceramic techniques. While there she experimented with techniques she had never tried, such as slip casting and mould making for ceramics in the first RCA assignment.

Mould making has since become an integral part of the work. Another influence at the RCA was what she learnt from the other students and more technical expertise.

Below: Agglutinate Trio 2020. Earthenware, slip, underglaze, copper, aluminium, reclaimed walnut and marble. 60cm W x 27cm H

Aphra O’Connor

Left: Limn 2. Earthenware, underglaze, marble. 22cm x 15cm x 10cm.

Below: Agglutinate Curlicue 2020. Earthenware, slip, underglaze, acrylic sheet. 47cm x 25cm x 25cm

She commented, “I knew that I wanted to create ceramics after the RCA, and to establish an artist career. If there is one thing 2020 has taught us it is to have several plans! I have been setting up a studio space in Yorkshire over the last few years, and investing in a kiln and wheels. Since March I’ve had lots of time to use in my studio.”!

Her plan has always been to create work in the North, and join a network of artists in Yorkshire. Now she is in the middle of building a larger studio space that will be shared with her parents who are both artists. She is also in discussion with Redcar Palace further up the coast from the studio, about leading some ceramic workshops.

The author Ashley Thorpe purchased one of her pieces from the Dynamic Equilibrium series in 2019, and they spoke at length about her influences and practice. He is in the process of writing a book on the ceramic practitioners he collects, and asked her to take part. She found it interesting and useful to read about how somebody experiences and approaches the work, which is eloquently written and includes some of the lockdown pieces. There will be two exhibitions to coincide with the launch of the Book in 2021.

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Emerging Potters – Issue 22

Aphra O’Connor

Left: Mainstay 2020. Collaged forms on found H beam.

Earthenware, underglaze. 42cm x 21cm x 15cm.

Looking at what influences her work she says it is inspired by artists across many disciplines. Some that she constantly returns to are Eduardo Paolozzi for the way he unites pattern and form, and uses found objects within his works and Piet Mondrian, for his use of primary colours. Plus being inspired by his writing on the convergence of colour and form, and of uniting both 2D and 3D elements.

Cubism, how they dissect imagery, and how De Stijl and Neo plasticism were influenced by the movements use of geometric line are another influence. Betty Woodman- in the 2016 ICA show reinforced the love of ceramics, and allowed her to envisage a way of making that was outside of traditional ‘craft’ display, she had works on the floor and the walls, and it changed how she creates ceramics.

Her way of working is to collect discarded packaging and objects that have interesting surface patterns. The aim is to create a unique visual library of sculptural design. Then she creates plaster moulds from these forms, so that they can develop into the forms over a series of ceramic sculptures.

She finds working in a series allows for greater experimentation, and exploration of the found forms. It was developed from working this way in the last year of the Royal College, and created her degree show of 16 sculptures from 5 plaster moulds.

Next she has been shortlisted for the Ingram prize, which is now an online exhibition at the Cello factory in London. There she showed Agglutinate Curlicue. www.aphraoconnor.co.uk

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Donna White She lives with her husband in the small village of

She recently converted a summerhouse in the

Stoke Gabriel on the River Dart, near Totnes,

garden into a studio pottery, fully equipped with

Devon.

a potters wheel, kiln and necessary equipment needed to work from home, which has proved

Dartmoor, and the River Dart, and its journey

invaluable during Lockdown and the Covid era.

down to the sea at Dartmouth, have been the greatest influences on the work.

Emerging Potters – Issue 22

Donna White

Emerging Potters – Issue 22

Donna White

The pots are made using a combination of coiling and throwing, whilst embedding natural materials.

Unfired vessels are often returned to the place where their materials were gathered and left to be reabsorbed back into nature, completing a cycle of life. Other vessels are fired for permanency and kept as memory jars to celebrate a special memory in time, or the life of a loved one.

After graduating from Portsmouth Polytechnic with a B.Ed honours degree in Creatives Arts in 1989, she then taught as a primary school teacher for thirty years before returning to arts education to study MA Ceramics in 2018.

Working with clay is something that has remained alive in her blood, and the thirst to create ceramic works has been quenched through attending many evening and day classes, especially those with studio potter Bruce Chivers, at South Devon College, who encouraged her to further the work at MA level.

She is currently completing a Masters Degree in Ceramics at Plymouth College of Art, where she has focused her work on exploring ephemeral ceramics to reconnect with nature, and specifically in the manufacture of biodegradable funerary urns to support grief and mourning.

Her work explores the connection between humans and the landscape, the relationships we form with the natural world, and how it develops bonds with places that hold significant meaning to us. Throughout her research and practice she has developed ways of embedding this human connection through clay, using sediment, sand, debris and flora to express connections, relationships, memories and emotions.

On deciding to explore the process of death and grieving and how ephemeral clay vessels could help with the process of ‘letting go’ of loved ones after cremation she has explored ways in which the rate of returning to nature could be controlled.

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Emerging Potters – Issue 22

Donna White

A clay vessel could slowly disaggregate or be absorbed into nature over days, weeks, months or years using gardens, moorland, rivers and seas.

Creating unfired funerary vessels embedded with personal materials, connecting loved ones with places of significant meaning, along with the memories and stories gathered from the bereaved, she felt that she could help make the process of saying goodbye more personal and meaningful. She hopes to capture the essence of a being and personify an object in order to make an ending meaningful.

After completing the MA in December 2020, she aims to develop a future career creating ephemeral works, through cooperatively working with green funeral companies and clients, and to create clay vessels to support the bereaved. Her funerary urns will enable them to choose the time they are ready to let go of a loved ones ashes or to keep them sacred in a personalised urn made from materials collected from places of special meaning.

http://dartpottery.co.uk/ http://dartpottery.co.uk/ instagram- dart_pottery

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Emerging Potters – Issue 22

Fiona Gibson

Fiona Gibson She is a sculptor and ceramicist based in West Wales, where the land bears bold narratives from mythology. This embeds itself in the way she attempts to understand the complexities of our histories. Her practice explores themes around beauty, nature, metamorphosis and mystery. The work makes reference to the many stories and characters in history mostly through the female form, shifting the familiar through expressions in clay to create something that’s more unfamiliar.

The intention is not to execute her work literally but rather to give a glimpse of the character behind the story.

The most recent work has been based around the mythological figures of seas and rivers. One of these works, Mererid, comes from the tale of Cantre Gwaelod, in which Mererid was said to stray away from her duties as keeper of the well, and submerged the land under water. For this work she has used velvet underglazes, capturing a water like quality running down her body. This gives the feeling that she is somewhat encaged or weighed down, as perhaps she bears the burden of the flood.

Her sculptures are created in solid clay as she likes the freedom of being led by the material. Not always ending up in the place she think’s she is going because the clay sometimes has its own ideas. Once complete she hollows it out, firing most works with velvet underglazes and at times, oxide washes, often firing multiple times.

Right: Ophelia II

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Emerging Potters – Issue 22

Madeline

Fiona Gibson

Emerging Potters – Issue 22

Fiona Gibson

She received a BA in Fine Art from West Wales School of Art in 2001, with an emphasis in ceramic sculpture. For the past 17 years she has been a secondary school art teacher. But now as her children have grown up, she works part time to pursue her practice, working from a small studio built by her husband that overlooks the garden.

She exhibits predominantly in Wales, with work currently on display in Queen Street Gallery, Neath, Lion Street Gallery, Hay-onWye, and regular pop-up exhibitions at Art at the Hall, Llangathen.

Mererid

Don

Head II

Instagram: @fiona.gibson.sculpture Email: fionagibsonsculpture@gmail.com

Head I

Emerging Potters – Issue 22

Ceramics Now Weekly Ceramics Now is an independent art publication and magazine specialising in contemporary ceramics. With contributors from around the world, They are a small organization established to promote and document contemporary ceramic art.

Founded by Vasi Hirdo in 2010, this web publication offers a curated selection of art projects and publishes articles and in-depth interviews with worldrenowned makers.

Since 2020, they have run Ceramics Now Weekly, a newsletter dedicated to contemporary ceramics written by the founding editor.

Every week there are profiles of makers, new exhibitions, opportunites and general news, all with an international theme. Opposite are just a sample of content.

Previously they published Ceramics Now Magazine, a journal that invited us to think about the various facets of contemporary ceramics and its creators. It is now only available in digital format.

Anne-Laure Cano shows online Royal Birmingham Society of Artists - Prize Exhibition 2020 - Online until 16th January - https://www.rbsa.org.uk/rbsa-prize-2020 - Piece exhibited: Whisper 67 Bath Society of Artists - Virtual Open Exhibition 2020 - Until 3rd January - https://www.victoriagal.org.uk/bsagallery - Piece exhibited Whisper 62

Anne-Laure Cano shows online Mission Gallery - Swansea - Maker - 13th January- 13th March – Ceramics Art Andenne - International Ceramics Trienniale Belgium - 24th April - 24th May http://en.ceramicartandenne.be/project/internationalexhibition-of-contemporary-ceramics/ Pieces exhibited: Rubbles

ANNE-LAURE CANO www.annelaurecano.com https://www.instagram.com/an nelaureceramics/?hl=en

Collect 2021 Crafts Council International Art Fair for Contemporary Craft and Design returns as a virtual selling fair in partnership with Artsy.net

24 February – 2 March 2021 www.collectfair.org.uk

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Emerging Potters – Issue 22

Jean Tolkovsky Initially her work was often fairly literal, portraying characters such as Dorothy from The Wizard of Oz or Pinnochio. However, over time this has evolved and become less obvious.

Certain characters reappear but may have altered and many new ones have emerged, as more of her own story merges with these fairytales.

Despite studying art to ‘A’ level Jean did not touch her first piece of clay until 30 years old, while spending some time living abroad. The minute she touched the clay it was like an epiphany, knowing it was something she had to pursue.

Upon returning to England she enrolled on a two year, part time diploma course in ceramics at Sir John Cass School of Art. This served as a good all round introduction to ceramics and enabled her to gain a place on a Ba Hons degree course at West Surrey College of Art and Design (now UCA Farnham). There she entered the degree course planning to become a thrower/potter and left with a passion for hand building and figurative work.

Whilst her work may appear fairly whimsical on the surface there is usually a deeper meaning being conveyed in the story. Personal observations or emotions intermingle with fairytales or characters from a novel. Masks and anthropological characters ask questions about who we really are. For some people the work is taken at face value, but others make a personal connection. The aim is to produce work that is emotive, and that suggests a story (which may be a personal memory or experience), but which allows the viewer to place their own interpretation on it.

She commented, “Having spent so much time reading to my children, I decided to focus on childhood, memories and experiences which could be portrayed through the characters inspired by fairytales and nursery rhymes. I then visited The Museum of Childhood in Bethnal Green, where I examined the way the toys were constructed – arms, heads, seams, fabric, ceramic, wood, wheels”.

Image: Shelf Hares, 'Have You Heard This One? and 'That's Funny'26cm x 13cm x 8cm.

Stoneware and nichrome wire

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Jean in her Guildford studio

Emerging Potters – Issue 22

Jean Tolkovsky

Images: Top left- reverse detail of Wake Me With A Kiss, 50cm x 27cm x15cm, stoneware, nichrome wire, gold leaf, feather.

Top right - 'Enchanted' figure 'Egg', 54cm x 13cm x 10cm, stoneware, nichrome wire, gold leaf.

Bottom - Shelf Figures , 'If I Were King' and 'If I Were Queen', 25cm x 13cm x 9cm, stoneware, nichrome wire and gold leaf.

Although she uses a number of sketchbooks they are mainly filled with scribbled outlines and a lot of text. Often these ideas will remain unexplored for months or years, but can suddenly emerge into a new character or piece of work.

Recently she has started to develop a new character inspired by a novel she has read.

Already she has made a couple of shelf figures and a small bust of this character but plans to produce some larger pieces incorporating related drawers and recesses to contain collections of objects.

Other new pieces that have emerged last year include the ‘Enchanted’ figures. Female figures bearing antlers, evoking themes of enchanted woods, the play ‘A Midsummer Night’s Dream’, or maybe ‘Sleeping Beauty’.

With their closed eyes they appear serene and calming. This was not a deliberate/ conscious act on her part, more a subconscious response to the then pandemic situation.

When working she uses Earthstone ES5 with 20% grog and fired to 1150 bisque followed by 1000 to glaze. Usually two firings are sufficient, although sometimes a third if colours aren’t right. Some pieces are further embellished with silver or gold leaf, which she usually sands back to give a distressed appearance. All the work is hand built either using hollowed coils for limbs, joined up pinch pots for bodies and heads, or slabs for larger forms, with further modelling of features. The addition of nichrome wire and tacks adds a further dimension and to the toy-like

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Jean Tolkovsky

Images: Top - 'Wake Me With A Kiss' 50cm x 27cm x 15cm, stoneware, nichrome wire, gold leaf, feather Bottom left 'The Dog, The Bird and The Anteater', 29cm x 24cm x 11cm, stoneware and nichrome wire Bottom right 'Butterfly', 22cm x 18cm x 12cm, stoneware, nichrome wire and gold leaf

Her glaze research means she can delve into tests saved from the time at WSCAD. One example was a lithium glaze that gave her what she was searching for, a dry matt finish which had the appearance of worn fabric. From this she developed a soft palette of colours by adding oxides or underglaze colours.

She has exhibited at shows including Art in Clay -Hatfield and Farnham, Earth and Fire - Notts, Potfest in the Park and Festival of Crafts – Farnham. She also participates annually in Surrey Artists’ Open Studios as well as Brighton and Hove Open House. In general she finds the ceramic shows work better for her than the mixed craft shows, Plus selling through a few galleries. www.jeantolkovskyceramics.com Instagram @jeantolkovskyceramics FB

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Emerging Potters – Issue 22

Freya Bramble-Carter For those of us who watch TV programmes like The Repair Shop or more appropriately Throw Down two common thoughts are always there.

What happens to the contestants after the show ends, and where did they come from originally?

Recruiting the local kids to start with, she then advertised through an online platform and the ball starting rolling. She commented, “It was so enjoyable as an activity, it was never work! You take what your parents do for granted until you wake up to reality! Oh, this is actually what I’m doing for a living!”.

Freya Bramble-Carter was an early contestant on Throw Down. This is her story.

Initially she learnt at her father’s studio, and then had a huge learning curve on the Throw Down TV programme.

Despite the fact she used to spend time in her father’s ceramic workshop as a child helping out, she had fun but wasn’t necessarily aware of clay or enjoyed it in a significant way. Her awareness and interest came when at university. There she found she spent a lot of time in the ceramics studio despite the fact that she was on a fine art degree course. For her final year she did a piece of performance art based on Frida Carlo with her mother and sister, both actresses. It was fun, and an interesting style of work she was interested in at the time.

She progressed very organically in her father’s studio, mostly being self taught and guided by him. He knew she would just do her own thing and learn through mistakes. She commented, “When I compare my learning to his students I can see that he guided me by letting me develop through self learning, giving me free rein”.

There she was encouraged to follow her enthusiasm and joy, with an interest in sculptural, figurative things and then later deciding to take throwing seriously when she wanted to teach.

After that, she forgot about art for a couple years, feeling the need for a good break from the art world.

She commented, “Throughout this time I wanted to get back in the ceramic studio, so I asked my dad if he’d pay me to help him out”. There she wanted to teach children pottery, and so started her first venture.

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Emerging Potters – Issue 22

Freya Bramble-Carter

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Emerging Potters – Issue 22

Freya Bramble-Carter

Looking back to the TV show she commented, “I remember the excitement of the experience and intense pressure! As competing is not really my thing!

“The last thing I remember making a toilet without a U bend and sticking it on at the last minute, then flushing the toilet resulting in a cascade of water pouring out everywhere (no rim). The previous night I thought I was leaving, so we had all gone out to celebrate which really didn’t do me any favours. I didn’t want to leave the competition even though it was a painful process at this stage, and I really did not want to make that toilet and had zero preparation!

Despite all these dramatic learning curves for me, I am incredibly grateful for the whole experience”. It was a big win for me all round! We had an incredible time!

At the moment she is developing different styles. Not looking to restrict herself with a specific style or heavy branding, but to keep exploring and learning.

She has many ideas in her head, and in the sketchbooks that haven’t even begun to be made.

Being proficient at throwing and having tried most techniques at this stage it’s more about coming up with a concept and then just sitting down to make what it is I’m dreaming of! Moments of spontaneity are always important to the process, as sketches are usually just the starting point .

(studio photo opposite: courtesy of LinkedIn)

Emerging Potters – Issue 22

Freya Bramble-Carter

Looking to the future her classes are booked up through 2021, so sessions will be seven days a week to fit the students into groups. She is also part of a ceramics course, (due to be published soon) which will be free for the attendees! There are thoughts of going overseas as well, so she will be visiting Florence soon, and the Bahamas again. She also wants to work more with people like the assistant Michael who is learning needs. He is very kind and patient and poses qualities most don’t have. His presence is such a blessing to have!

For the commercial shows she is looking ahead at Hatfield and planning a studio show herself. A matter of seeing how it goes!

We might just do one close to us! I have a couple of people helping me with selling and marketing as I like to focus on what I enjoy most which gives me a bit more time for myself!

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Emerging Potters – Issue 22

Freya Bramble-Carter

There are many skills needed to run a studio. She commented, “You need energy, enthusiasm and help! You need one person loading/ unloading kilns, wrapping peoples work up after throwing and making the glazes, recycling the clay, wiping down surfaces, moping floors multiple times in a day. Between sessions/ maintenance work of unblocking drains, empting clay traps, somebody generally cleaning and organising the studio, while someone is doing the emails, communication, marketing and the website”.

The popularity of ceramics has been increasing since Throw Down and will continue to grow as the programme continues. Social media and the mainstream press seem to have taken it up by storm, simply because it’s needed! Arts/ Crafts and making pottery especially, has gone wild on Instagram!

Teaching at: Unit 18 & 19 Kingsgate Workshops - 110- 116 Kingsgate Road, NW6 2JG Studio: 020 7419 7260 Chris/ dad: 07810 364181 Me: 07956566229 www.freyabramblecarter.com @freyabramblecarter @chrisbrambleceramics

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Emerging Potters – Issue 22

Book Review

Raku

by Tim Andrews ISBN: 9781789940220 (Hardback: £35.00) Herbert Press

In this book there is a good deal of technical information, practical advice and personal motivation gleaned from my own experience and from many other potters from all over the world. Above all though, whether you are a fellow maker, a col- lector, a student or just have an interest in pots and ptters, I have sought to convey something of the excitement that I and so many other makers continue to enjoy from the ceramic practice and philosophy we know as raku - Tim Andrews

Emerging Potters – Issue 22

Book Review

Salt Glazing

by Phil Rogers ISBN: 9781789940381 (Hardback: £30.00) Herbert Press

My purpose in writing this book is to examine the many and varied approaches to the salt-­‐glazing process that exist amongst potters. My hope is that an aspiring salt-­‐glaze potter will gather all the information needed to make a start along a path of personal exploration. – Phil Rogers

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