Emerging Potters magazine issue 26 January to March 2022

EMERGING

Issue 26 January to March 2022

Potters

Emerging Potters - 26

January – March 2022

Introduction The online pottery magazine 2021 has been a year of cancelled major shows and uncertainty for 2022.

But one of the group of shows by ‘Potfest’ have gone from strength to strength, so it will be worth keeping a lookout for the shows in April, the end of July and October around the country.

The Craft Council’s ‘Collect’ show at Summerset House in London is still scheduled to go ahead, as the magazine is about to be published. In this edition we give the show a quick preview and will cover it in more depth in the next edition of the magazine. It was great news to see that ‘Thrown’ Gallery run by Claire Pearce has been chosen to take part.

Let us hope that the collages have a better year and the students can once again have live shows.

Ellie Wain from Manchester, who is featured in the ‘We Are Makers’ publication.

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 2022 Emerging Potters is produced in association with Aylesford Pottery UK.

January – March 2022

Contents

Collect 2022

3–7

Thrown Gallery

8 - 14

After the Show

15 – 18

Bristol Clay

19 – 22

Claire Lardner Burke

23 – 25

We Are Makers

26 – 27

Book Review – Contemporary RAKU

28 - 30

Book Review – Handbuilt Ceramics

31 - 32

Left: Claire Lardner Burke

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Emerging Potters – 26

January – March 2022

Collect 2022 London The appetite for British craft has never been greater: 73% (37.7M) of the UK population is purchasing craft as of 2020, compared to just 17% in 2006.

Collect is the leading international fair for contemporary craft and design and is returning to Somerset House, London from 23-27 February 2022 and online at Artsy.net from 23 February.

Collect is the showcase for The Crafts Council UK which is the national charity for craft. They believe craft skills and knowledge enrich and uplift us as individuals and can change our world for the better. Through their activities they inspire making, empower learning and nurture craft businesses.

Selected by a panel of experts, the exhibiting galleries represent some of the most exciting international craft artists working today, from the emerging to the established.

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Collect provides a superlative opportunity for collectors to purchase pieces made in the last five years, making the fair a truly global event. The fair also represents an unrivalled setting for internationally renowned institutions to acquire contemporary craft for their collections; the V&A Museum has regularly sourced from Collect over its 18 years, making a record 13 purchases in 2020.

It is therefore widely acknowledged by these artists and galleries as the pinnacle event in their field, and many create and commission new work especially for Collect.

Alongside these international galleries Collect Open, the fair’s platform for pioneering craft installations by emerging artists, returns with 12 exciting projects by artists and collectives from Chile, France, Israel, and the UK.

Emerging Potters – 26 Collect 2022

January – March 2022

Photo previous page: Galleries Ruup & Form, 155 FIVE on a Fred Rigby table

The works at Collect represent the most expansive understanding of contemporary craft and cover the widest range of disciplines, materials, and processes. Lacquerware, neon, jewelry, furniture, tapestry, ceramics, metalwork, fibre art and glass are all displayed side- by-side to create a unique collecting environment.

Highlights for Collect 2022 Collect welcomes an unprecedented number of new artists to the fair. A dynamic and diverse roster of established galleries nurturing emerging talent, and new galleries offering a fresh perspective on conventional techniques.

Work showcase embodied narratives that explore a range of issues, including cultural identity and place. For first time participant Pik’d (Lebanon) founder Randa Missir showcases museum-quality pieces from internationally renowned artists alongside local Lebanese designers.

This year the fair welcomes returning gallery Bullseye Projects (USA), presenting astonishing work on printed glass from emerging artist Anthony Amoako-Attah that incorporates traditional designs and symbols from his local Ghana.

Mart Schrijver Cube Gallery

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Emerging Potters – 26 Collect 2022

January – March 2022

With several new and returning galleries drawing on backgrounds in architecture or interior design for their 2022 curation, many artists are reimagining traditional craft processes – with striking results.

New artist Amanda McCavour, represented by the returning Cynthia Corbett Gallery (England) presents an arresting cascade of poppies rendered in machine embroidery.

Specialising in East Asian histories, new gallery Maud and Mabel (England) celebrates the artists’ shared interest in adapting old forms, surfaces, and techniques to create exciting, unique ceramic works. Newcomer artist collective FIVE (England) will present ‘Conversations in Silver,’ a series of pieces approaching the medium in non- traditional ways by silversmiths from a cross section of generations and backgrounds.

This year’s fair further incorporates thoughtful consideration of maker’s surroundings, with responses to interiors and homes, to nature and the seasons.

Dan Kelly Thrown Form II and Thrown Form I 155A Gallery

Lloyd Choi Gallery (South Korea) returns with a coveted selection of art works showcasing the purity of the Korean aesthetic.

Candida Stevens Gallery (England) celebrates the return of the physical fair by inviting two artists each in textiles and ceramics to create work that responds to the history of Somerset House and its interior space.

New to the fair, Thrown Gallery (England) represents new and emerging British voices in clay that will explore natural materiality.

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Adding to the hybrid nature of the fair, the Crafts Council will present a talks programme live and online – with details to be unveiled in due course.

Emerging Potters – 26

Collect 2022

January – March 2022

Collect exhibitors (to date): 50 Golborne, England 155A Gallery, England (NEW) Bullseye Projects, USA Candida Stevens Gallery, England Cavaliero Finn, England Collection Ateliers d’art de France Craft Scotland Cube Gallery, England Cynthia Corbett Gallery, England Design & Crafts Council Ireland, ESH Gallery, Italy FIVE, England (NEW) Flow Gallery, England Gallery LVS & Craft, South Korea Gallery Sklo, South Korea The Gallery by SOIL, Hong Kong Icheon Ceramics by Han Collection South Korea intoart, England Joanna Bird Contemporary Collections, England Lloyd Choi Gallery, South Korea London Glassblowing, London Maison Parisienne, France Maud and Mabel, England (NEW) Micheko Galerie, Germany Officine Saffi, Italy Oxford Ceramics Gallery, England Pik’d, Lebanon (NEW) Queen Elizabeth’s Scholarship Trust (QEST), England Ruthin Craft Centre, Wales Ruup & Form, England Thrown, England (NEW)

Studio MC, Lina Flow Gallery

Naomi McIntosh Cocoon Vessel 3

Ruup &Form Gallery

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January – March 2022

Collect 2022

Collect Open Tal Batit (ceramics), Israel Amelie Crepy and Jacqueline James (textiles), France Robert George (wood), UK Jemma Gowland (ceramics) UK Sharon Griffin and Wayne Chisnall (ceramics), UK Lucy Macdonald (textiles), UK Line Nilsen (textiles), UK Liliana Ojeda and Clarissa Menteguiaga (jewellery), Chile Caron Penney (textiles), UK Laura Quinn (glass), UK Loraine Rutt (ceramics), UK Helaina Sharpley (metal), UK

Below:Candida Stevens Gallery, Chris Keenan

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Emerging Potters – 26 Collect 2022

January – March 2022

Thrown Gallery at Collect 2022 This is the first time that the pioneering ceramics gallery ‘Thrown’ has taken part in ‘Collect’. Here Claire Pearce the director gives her thoughts on a major international step for the gallery and profiles some of the makers she is taking to the show.

"It's a bit of a dream to be exhibiting at Collect. As a fair I eagerly visit each year and promise myself that one day I'll get to be part of, it feels like an exciting marker of the gallery's development over the past four years to now be part of this presentation of craft at an international level.

It feels very fitting that on our debut stand we will be presenting a group of artists who are all showing at the fair for the very first time too. Perhaps even more so that some of the artists shown I have been working with from our very first show, including Tom Kemp and Bisila Noha. In fact, very much showing how far we've come, Bisila Noha's collection for Collect is a continuation of her 'Baney Clay' series, an exploration in clay of her african heritage, which was created for an exhibition at Thrown in 2020 and led to international press and museum interest in her work.

We are excited to be showing recent Manchester School of Art graduate Nadire Gokmen and her latest collection of 'Rust' prints alongside works by established names such as Roelof Uys, lead potter of the Leach Pottery, St Ives, Helen Beard, Adele Howitt and the first UK showing of work by South African ceramicist Katherine Glenday. More new names will include Karl Sebastian, Matt Cronshaw, Karina Smagulouva and Nina Gerada who are all developing new collections especially for the fair - a great, and well deserved, opportunity for them all to think about their practice at this international level."

Those being represented are: Helen Beard/ Matt Cronshaw/ Nina Gerada/ Katherine Glenday/ Nadire Gokmen/ Adele Howitt/ Tom Kemp/ Bisila Noha/ Karl Sebastian Roelof Uys

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Emerging Potters – 26 Thrown Gallery at Collect 2022

Bisila Noha

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January – March 2022

Emerging Potters – 26

Thrown Gallery at Collect 2022

January – March 2022

Matt Cronshaw

Nadire Gokmen

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Emerging Potters – 26 Thrown Gallery at Collect 2022

Katherine Glenday

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January – March 2022

Emerging Potters – 26 Thrown Gallery at Collect 2022

January – March 2022

Roelof Uys

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Emerging Potters – 26 Thrown Gallery at Collect 2022

Nina Gerada

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January – March 2022

Emerging Potters – 26 Thrown Gallery at Collect 2022

January – March 2022

Tom Kemp

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Emerging Potters – 26 Fresh

January – March 2022

After the show Three lucky winners from the rising stars of the ceramic world were chosen from over 25 entrants to ‘Fresh’ at the British Ceramics Biennial (BCB) in 2021.

The Biennial is a flagship exhibition of the festival, which took place in Stoke-on-Trent from 11 September to 17 October 2021.

The three won Fresh Talent Residencies which were awarded during the BCB festival. The residencies will take place through partnerships with Staffordshire University and Guldagergaard International Ceramics Research Centre, in Denmark, with the selected artists then showing their work in the 2023 BCB festival.

From YouTube tutorials and community workshops to degree programmes and apprenticeships, Fresh 2021 celebrates the rich and diverse learning opportunities that are shaping ceramics today.

The works featured in the exhibition celebrate the unique learning pathways of each maker, artist and designer. Some discovered clay as a child, some whilst studying in the community, others through college and university. They are united by their intention to embark on careers within the ceramics field, and by their extraordinary achievement.

These are personal journeys in clay, which cross cultures, continents and forms of expression.

Each artist opens our eyes to the vast material possibilities of the medium. Their artistic discovery expresses the courage of new beginnings, providing what we need at this moment in time.

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Dorcas Casey, Nico Conti and Leora Honeyman were chosen as this year’s Fresh residency winners.

Dorcas Casey, a sculptor interested in ideas around dreams, stories, intuition and memory, will undertake a residency at Guldagergaard International Ceramics Research Center.

Leora Honeyman’s residency with the British Ceramics Biennial will see her develop her sculptural, abstract forms that combine clay with different materials and making processes.

Nico Conti, whose delicate work embraces the tradition and heritage of his upbringing in Malta and sees him pairing clay with 3D printing technologies, will take up a residency at Staffordshire University.

Left top: Leora Honeyman, Installation.

Left, bottom: Dorcas Casey, Leeches 2019.

Below: Nico Conti,

January – March 2020

Emerging Potters – 26 Fresh

Dorcas Casey Pain for Home, 2020

“I am a sculptor interested in ideas around dreams, stories, intuition and memory. I began working with clay in 2018 whilst studying for a Masters in MultiDisciplinary Printmaking in Bristol.

I have a curiosity about materials and am only beginning to explore the freedom that working in ceramics can lend to my sculptural practice. Since starting to experiment with ceramics I have realised that it can be many materials at once.

It has so many different states.

I would love to make ambitious large-scale ceramic installations in the future”.

Dorcas Casey will undertake a residency at Guldagergaard International Ceramics Research Center.

BA Fine Art (Sculpture), Winchester School of Art (2011) MA Multi-disciplinary Printmaking, University of the West of England (2019)

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Emerging Potters – 26 Fresh

January – March 2022

Leora Honeyman Shelf Thing, 2021

“My journey with ceramics began in 2017 with a series of coil pots. Dug from wild clay, these vessels represented a symbolic process of reconnection to my diverse roots.

During my M.A. at the RCA, I have been testing ceramic making processes in search of potential for innovation. The coil building has continued within the digital process of ceramic printing.

As a designer, I often speculate on cultural habits. This results in pieces which seek to re-imagine ‘use’ and give space to 'other' world-views”.

BA Interior Architecture, University of Brighton (2003) Currently studying Masters in Ceramics and Glass, Royal College of Art Leora Honeyman’s residency is with the British Ceramics Biennial. https://leorahoneyman.studio

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January – March 2022

Emerging Potters – 26 Fresh

Nico Conti Anecdote of Home and Porcelain, 2021

“Growing up in Malta meant that I often found myself surrounded by family and tradition. After studying abroad, I've grown to appreciate what my home has to offer. Childhood memories from here are where I draw most of my inspiration from. I tend to look at things that have certain elegance and beauty. Maltese lace, cathedrals, and urchins are recurring themes around which I make my art.

I express this through the process of clay 3D printing.

I alter the uniformity of clay printing and push porcelain to unexplored territories. Through experimentation I am able to find new ways to use a material with such a rich history”.

MA Ceramics and Glass, Royal College of Art (2019) Nico Conti will take up a residency at Staffordshire University. https://www.nicoconti.com

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Emerging Potters – 26 Bristol Clay

January – March 2022

Bristol Clay ‘Bristol Clay’ is another exciting new group of women ceramic artists and makers who held their first exhibition during November 2021. All of them were coming from different starting points and experiences, but they all have a shared passion for exploring the limitless possibilities of clay.

The exhibition explored the versatility of the ceramic genre. From vessels thrown on the potter's wheel, to hand built sculpture, from earthenware to stoneware and raku.

Each maker has her own individual approach to ceramics, meaning every piece of work is unique and demonstrates the infinite possibilities and approaches.

The proceeds from cups made for the Private View at the show went to Art Refuge, a local charity supporting displaced people through art making and art therapy. The show made £500 for charity, with 800 visitors during the two weeks it was on.

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Centrespace Gallery where the show was held is situated in the heart of the old city of Bristol, which can be found down the narrow graffitied walls of Leonard Lane.

Jessica Thorn commented, “In the future, and moving on forward from the exhibition, we see Bristol Clay becoming more of a collective, with others being able to join.

As lots of us feel that being a potter can be such a joy but also if you are working from home it can be isolating, as a group we are aiming to build a supportive community of potters and ceramists in Bristol.

For more information follow Bristol Clay on Instagram and sign up to the Facebook event.

Emerging Potters – 26

Bristol Clay

January – March 2022

Bristol Clay Claire Redwood Deborah Weymont Emma Puddick Joanna Copperman Emily Gibbard Kate Cornelius

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Emerging Potters – 26 Bristol Clay

January – March 2022

Bristol Clay Laura Grainger Maisie Hemming Louise Blois Linda Brogan Mandy MacDonald Miranda Wells

Emerging Potters – 26

Bristol Clay

Bristol Clay

Rhian Jarman Emily Gibbard Lucy Winch Jessica Thorn

January – March 2022

Emerging Potters – 26 Claire Lardner Burke

January – March 2022

Claire Lardner Burke Her road to clay has been quite a long and winding one. In 1993 she was offered a place at Bristol University to do an Art Foundation but never took it up as she joined the young traveller movement of the 90s and for almost a decade lived a nomadic, outside, "hippy" lifestyle through Europe, the Middle East and Africa.

Everywhere she went she made things; jewellery, clothes, hats, to earn her way and was constantly surrounded and influenced by nature, other cultures and the creative lifestyle of everyone around her. She lived in caves, on beaches, in teepees, in the wilderness, and in the mountains.

It was an incredibly informative time of life. In 2001 she came back to London where she was born. Never intending to stay in London, the big city, but life doesn't always work out how you imagine. She got a job working for a small charity in Kentish Town called Rise Phoenix that provided all sorts of arts projects for the local inner city children. There she ran workshops, after school clubs, holiday clubs and camping trips to remote places to encourage the children to find a creative connection to nature. They were a small team and she was extremely happy during those years. Working creatively with children was a joy, but she was struggling with her own creative journey and try as she might couldn't find a medium that she felt really connected with. She began to wonder if there was one for her at all.

In 2008 she joined the Putney School of Art's ceramic studio. It was the most wonderful surprise to discover a love and connection to clay that she had not experienced before with any other medium. From then on she was hooked.

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Emerging Potters – 26 Claire Lardner Burke

January – March 2022

For the first two years all she made were tiny pinch pots which she experimented on continually with textures, oxides, slips and glazes. Straight away knowing she wanted to create small pots that resembled the natural world.

She was particularly fascinated by the beautiful, unique marks and colours of things as they weathered and aged. Much influenced by Lucie Rie and her delicate forms and wonderfully pitted glazes and also by having access to a gas kiln and the beautiful effects of reduction firing. After those first two years she was taught to throw by John Dawson at Putney and became obsessed with throwing bowls.

Culminating in winning the throwing prize at the end of year exhibition in 2013.

Then in 2015 she left Putney and moved to The Kiln Rooms in Peckham Rye, a member's studio, and went from one day a week to 3 days a week, which was a bit like heaven. She developed a way of layering oxides, slips and glazes over each other multiple times that created an unpredictable organic-looking beauty in each piece that she loved and has been refining this process ever since.

Website: www.clairelardnerburke.co.uk Instagram: @clairelardnerburke Facebook: clbceramics 24

Emerging Potters – 26 Claire Lardner Burke

At the beginning of 2019 she moved into the fulltime studio at The Kiln Rooms and there started to learn how to fire a kiln and work at different temperatures. As work progressed she fell in love with that work which came out looking more and more like stone. A quiet, still beauty of the pieces.

She made glazes which were more matt and dry, firing to 1230-1240 degrees Celsius and often multiple times. Earlier in 2021 she had a back injury, which meant when she was able to get back to the studio she had to stay off the wheel for a while. So, she started to coil build pots and again fell in love with this new way of making. She found a quietness and stillness to coiling that connected her deeper with the quietness and stillness she was experiencing in the pots and altogether deepening the journey she was on, seeking to imbue in the pots some of the essence of the beauty and quietness of nature.

January – March 2022

Emerging Potters – 26

January – March 2022

We Are Makers Every now and again a new publication spring-up which challenges the status quo and invigorates a whole new sector in the creative industries. One such is ‘We Are Makers’ and unusually it is produced by two young makers themselves.

Kate & Jack Lennie

Kate and Jack Lennie are makers themselves. They know first-hand both the joy of honing a craft and the frustrations of going it alone while trying to gain visibility for their work.

The pair met while studying Product Design at Edinburgh Napier University and have since taken on various creative projects. Jack works in film and television as a special effects engineer. Kate founded Ardent Leather after a stint as a children’s furniture designer and is now working full time on the We Are Makers publication.

The idea to connect makers stems from an exhibition that Jack organised in 2013. With a fellow student, he devised Creative Meadows, a pop-up gallery open to artists and designers of all kinds. This event was listed as one of the top things to do in Scotland second to T in the Park!

Glasgow, Scotland @weare_makers https://www.atelierardent.

Com Edition One (September 2020) Edition Two (March 2021) Edition Three (September 2021) Edition Four coming March 2022

We Are Makers is first and foremost a community, where makers can share their stories and promote their crafts.

Seeing this network thrive has been a real highlight for the couple behind the publication.

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Emerging Potters – 26 We Are Makers

January – March 2022

We Are Makers builds on the couple’s recognition that independent makers often lack such opportunities to freely exhibit their work. The aim was to create a level playing field for makers of all disciplines and backgrounds from across the globe.

Free of advertising, the publication is a curation of stories reflecting Kate and Jack’s mission to support the people behind handmade products. Each edition showcases a wide variety of makers and puts their work in front of consumers who truly value quality. Leafing through the pages is an education in the beauty of craftsmanship and what it means to own a unique piece made by hand.

We Are Makers is a platform that both champions the maker and their product and celebrates the process and the passion that drives the work. In between the two editions released annually, the conversation continues online.

Kate and Jack have created a place to share experiences, journeys and ambitions; a network where conversations and collaborations between crafts and trades can begin. We Are Makers is an opportunity to overcome the frustrations and loneliness of the independent craftsperson. By uniting makers, it channels that contagious joy of being surrounded by people who love what they do.

All are welcome to join the community. If you’d like us to consider your work for inclusion in a future edition, please submit brief details and a selection of images via our submissions form (https://www.atelierardent.com)

Emerging Potters – 26

January – March 2022

Book Review

Contemporary RAKU

By Stephen Murfitt Published by The Crowood Press ISBN: 9781785009938 Width: 189mm Height: 246mm Number of pages: 176 Published: 24/01/2022 Binding: Paperback Price: £18.99

It is available to buy through the publishers website (www.crowood.com) and it will be available to pre-order 30 days before publication (25th December).

Stephen Murfitt has a Contemporary Raku exhibition planned with the Craft Potters Association running from the 3rd March to 21st March subject to Covid restrictions.

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January – March 2022

Book Review: Contemporary Raku

Raku is a Japanese word that has been freely interpreted in the West as ‘enjoyment’. The ‘enjoyment’ is generated from the ‘full-on’ involvement and total engagement with an exploration of ideas interlocked with a magical process! It is a constant search for an elusive unknown perfect outcome. The famous potter Hans Coper once com- pared his work to that of a ‘demented piano tuner, trying to approximate a phantom pitch’. Many contemporary makers are engaged in a way of working which could be defined as ‘Raku’, a fusion of ideas and process that continues to develop and evolve. In this book, the con- cept and practice of Raku is revealed through insights provided by some leading practitioners, informed by the first-hand experience that is constantly increasing their knowledge.

Pottery is as tactile as it is visual and should be seen and experienced in the round.

Manipulating clay and making is an extremely tactile experience. As the forms slowly develop, intuitive decisions are made. A change of direction here, a seam added there, more scraping and refining required.

Developments that take place during the making process are influenced and informed by ideas that have been developed from experiences absorbed and observations made over many years.

Opposite: Stephen Murfitt, tall textured vessels; height 60cm.

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Emerging Potters – 26

January – March 2022

Book Review: Contemporary Raku

Visual connections are noted, memories of museum visits and ancient pots revisited. Sketchbooks are referred to, and even older and undeveloped ideas remembered. The anticipation of the firing to come builds as recipes are adjusted and pieces are glazed, with some new combinations of colour to be explored.

The first piece is gently placed in the kiln and as the temperature slowly rises, the excitement and expect- ations increase.

The glaze has matured and the vessel is carefully removed from the kiln with metal tongs and placed onto a pre-prepared bed of sawdust and wood shavings. Flames and smoke erupt as more shavings are added and the lid is put on the bin. The hours slip slowly by, the lid is removed, with a combination of expect- ations, doubts, anxiety and enjoyment, the form (still very hot) is slowly revealed. That fundamental desire to create, the total involvement with the drama of the firing process and the hopeful anticipation for the potential of the outcome, are all part of the Raku experience.

The earliest Raku was produced in Japan around 500 years ago, and has been greatly developed since those early beginnings to become the exciting and con- stantly evolving practice used by many leading makers of ceramics today.

Top: Stephen Murfitt, Angular vessel with semi-matt white glaze. Height 39cm.

Below: Stephen Murfitt, glazed and fired block forms. Height 29 cm.

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Emerging Potters – 26

Book Review Handbuilt Ceramics

By Jo Taylor Published by the Crowood Press £16.99 http://www.crowood.com ISBN: 9781785009594 PAGES: 144 PUBLISHED: 25/10/2021 Handbuilt Ceramics is a practical guide to all aspects of technique, but goes further by exploring the studio practices of ten exciting contemporary makers. Advice is given on how to get started and information on tools and equipment, types of clay and a safe workspace set-up. Handbuilding methods, such as pinching, coiling, slabbing and press moulding, are explained in detail with step-by-step sequences. Techniques for creating surface interest, pre and post firing, are included using coloured slip, glaze or paint. Ideas for combining techniques and ways to experiment are explored and encouraged, as well as tips to avoid common problems and to achieve successful outcomes. With over 350 lavish photos, this book will provide inspiration through a unique understanding of current work. It is written both for the novice and for the experienced maker looking for a new direction.

Jo Taylor is known for her exuberant sculptural works. Her unique pieces are inspired by architectural features, and created by combining throwing and handbuilding techniques. As well as exhibiting widely, she regularly teaches and is a passionate advocate of experimental practices.

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January – March 2022

Emerging Potters – 26

Book Review: Handbuilt Ceramics

January – March 2022

Quoting from the book Jo Taylor comments, “Learning by observation and through feeling with your hands what clay will (and will not) do is as important as instruction. Much of a learner’s progress will be ‘kinaesthetic’, which is the activity of learning by doing, as tuition will only take you so far.

Watching people working with clay, both on television and online, is ever more popular; observing making in all its variations can quickly aid understanding. As a consequence of suiting different learning styles, ceramics retains universal popularity across a range of settings as it is an appropriate activity for anyone.

It is widely accessible: most issues can be accommodated and it is a proven beneficial activity for well-being. It is also an excellent means of building resilience and problemsolving skills, alongside the development of creative and making skills”.

1.1

8.41

1.1 - Jo Taylor, detail from Cincture wall series, 2019, porcelain, thrown, hand-built and assembled 4.4 -Jo Taylor, Vari Capitelli iii, 2019, height 41cm (16in).

6.47 -Jo Taylor, Vari Capitelli ii, 2019, height 44cm (17in). This work was coiled and thrown, with extruded and handmade additions using a bisque former.

4.44

7.22

7.12 -Building up the additions can change the energy and appearance of the underlying form.

7.22 - Jo Taylor, Pride and Joy Green i, 2018 height 25cm (10in) This is an example of porcelain coloured with a range of green stains, made into a variety of shapes and assembled at leather hard before being fired once.

8.41 - Jo Taylor, Vari Capitelli vi, 2020, height 43cm (17in)

7.12

6.47

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Back copies of the magazine can be found on the ISSUU platform