Phil Rogers - Monograph, 2008

PHIL ROGERS AT GOLDMARK GALLERY

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PHIL ROGERS A Potter of Our Time

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PHIL ROGERS A Potter of Our Time

Essay by Sebastian Blackie

GOLDMARK 2008

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2008 is my thirtieth year as a potter. I opened the door of my Bridge Street pottery and showroom on Easter Saturday 1978 and I remember two things about that inaugural day. Shortly after I turned the closed sign to ‘open’, it was my uncle, one of the nicest and most thoughtful people I have known, who was the first person through the door to buy a small jug as a way of showing his support. The second thing I remember very clearly is going home that evening with about thirty pounds in my pocket. It felt good to have earned some money in such a direct and tangible way. I made the pots and then bridged the gap between those pots and the people who bought them. I had become, not just a maker but a tradesman too. Like my great, great grandfather who plied his shoemaking trade in Rhayader, I was earning my living by my own labour and I would stand or fall by my own efforts.

So much has happened during the intervening years that it would be impossible to document it all here. There has been a slow but continuing development in the work that I make and I think I have become better at what I do. Fortunately, even after thirty years, the making of pottery retains the mystique and sense of adventure that drew me toward it in the first place. I started with two kilns both fired with electricity. My first ‘flame’ burning kiln was fuelled with propane and situated in the garden of our cottage in the town. After the move to Cefnfaes Farm in 1984 I was able to build a large downdraught kiln fired with oil which was followed very shortly afterward by a kiln for salt glaze also fuelled with oil.

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That first salt kiln lasted 100 firings before it was demolished to be replaced with another, larger salt kiln. The latest kiln is a three chambered kiln fired with wood and this exhibition is the first time pots from this kiln have been shown in any real number. The wood kiln has certainly proved a challenge and yet it is the constant examination of one’s resolve that provides the impetus required to evolve and improve.

Potters, irrespective of style or design, have one thing in common – they require to sell what they make. During the thirty years I have been making and selling pottery the ways in which we confront the public with our pots have changed radically. In 1978 we were still making and selling large numbers of little jugs, mugs and cereal bowls. It was the tail end of the pottery ‘boom’. Scrub top tables, open toed sandals, Laura Ashley prints and macramé were synonymous with oatmeal glazes and that slightly toasted ‘farmhouse look’. Potters have since become considerably more sophisticated. The pots we make now are in a different stratosphere both technically and artistically. Potters have, at last, achieved genuine recognition for what they do. Galleries like the Goldmark Gallery have been instrumental in bringing about that change. Good representation is essential to the artist and maker.

A dedicated and enthusiastic advocate allows the maker to concentrate on what is important – making.

I would like to thank everyone at the Goldmark for their commitment, passion and good humour. I consider myself very lucky to be a part of this gallery and I hope you enjoy this exhibition as much as I enjoyed the thirty years it took me to make it.

Phil Rogers, 2008

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A Potter of Our Time

In the ancient Japanese pottery town of Seto there is a shop that sells nothing but clay. A poky little shop with hundreds of sample tiles lining the walls each an example of a different clay body.

Coarse textured clays with irregular lumps of feldspar, smooth plastic bodies with a velvety surface. The choice is amazing if you are into brown. It is a reminder that while the visual is vital in pottery the experience of clay is also beyond colour. Clay is about texture, weight, density and sheen. Sound, smell, temperature and workability of plastic clay all coincide to achieve a specific character. The potter responds to this with all senses. A pot then is the result of a dialogue between maker and material; a unique exchange that continues through each stage of the making process. The Seto clay shop contained a few rather chalky looking bodies stained bright blue, pink, and yellow; somehow in this context they looked like a handful of alchopops that had strayed into a vintage wine cellar.

Phil Rogers’ work is located in what has come to be known as Anglo Orientalism. This has been referred to as a style of pottery but is better understood as a way of potting (as in path). Style implies superficial mimicry whereas in Rogers’ work we find understanding but also exploration. Rogers engages with a way of thinking about pots brought to the West as a gift from the East

by Bernard Leach. But as with all real gifts this bequest comes without obligation. There is a special space within this oriental canon that the occidental potter can make their own.

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Even at first sight Rogers’ use of familiar forms: bowls, dishes, jars, vases and jugs, has a vigorous individual identity. But to more fully appreciate Rogers’ work it is necessary to handle his pots.

Once in the hand they communicate an acute understanding of weight. Weight is a signifier of value. Often in ceramics lightness is associated with skill and refinement but in Rogers’ work there is a generosity of weight. They are not heavy in a clumsy sense; the pots press into your hand asserting their presence, the distribution of weight finely balanced so that refinement and substance are combined to give a sophisticated experience that employs skill without being an overt display of technique. The form of Rogers’ pots must be ‘read’ by hand as well as eye for with the changing section we feel the diversity of surface. A silky glaze gives way to naked clay, rolled smooth or made raw by the deft use of a sharp turning tool. This edgy juxtaposition rewards the enquiring hand and takes the work beyond attractive to a more interesting and complex place. Much of the decoration is done by direct touch and one can retrace the swift movement of the hand through the still wet glaze immediately after the pot has been dipped. Even with a lifetime of experience looking at a pot is not enough. The appreciation, all be it unconscious, is in what the eye anticipates and the hand confirms.

This appreciation is extended by use. Most of Rogers’ work fulfils some domestic need. It is not just aesthetic in function but enhances, for example, the aesthetic of our utilitarian need to eat and drink. For me this work has a slightly hungry quality that I value. These pots become complete in use; food and drink are part of their decoration. Through use we discover how pots integrate with our lives: food held in such vessels tastes better, nourishing spirit as well as body. Mundane tasks, such as washing dishes, become an enriching experience. Are they what Heidegger called a ‘thing’? Certainly they take us beyond their immediate object presence.

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Rogers has developed his own clay bodies. Choice of clay is fundamental to the quality of pots. It determines the character of form and surface but also its chemical composition will have a significant affect on the appearance of glaze. Rogers’ glazes all interact with the clay so that colour contrast may be simply achieved by varying the thickness of the same glaze. He uses a classic oriental glaze palette: a creamy Chun, a rich glossy black Tenmoku breaking to an iron saturated tan and a watery green ash glaze that originated from one of the very first oriental stoneware glazes. They are glazes that evoke the pot’s wet past or their delicate sheen when half dry. In so doing they complement a similar paradox to that found in the form of this type of pottery where fired clay appears soft and malleable.

More recently he has worked with Shino, a crazed, pearly and pitted glaze, almost liverish when applied sparingly on an iron rich clay or off-white breaking to red or orange when thicker. It is a seductive but aesthetically demanding glaze. It requires the longer firing associated with wood kilns and to a lower temperature than most Western potters employ, in a similar principal to slow cooking, if depth and integration with the body are to be developed. Shino originated in Seto and together with Oribe ware is particularly associated with an explosion of creativity in late 16th century Japan. It was in this period that an aesthetic, still guiding the appreciation of modern potters such as Rogers, was first established.

If it were possible to adequately describe these glazes in words we would not need them. They stir memories and evoke thoughts of the material world; the Chinese refer to some feldspathic glazes as being like congealed lard! Just as with wine these classic glazes vary from place to place as raw materials are sourced locally. Rogers uses rock dust from a quarry near his home and wood ash from the domestic fire but the same glaze will also differ

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637 15

from firing to firing just as a vintage wine will from year to year.

Ironically while pots made in this way may employ a universal language the individual pot expresses the uniqueness of place and time.

Recognizing that firing is part of the creative process is fundamental to this way of potting. In wood and oil kilns the flame ‘touches’ the pots and flying ash or salt vapor combine with clay to ‘wet’ the surface. Rogers deliberately engages with a process where the finished work bares the marks of transformation in the kiln. For the first time the potter can no longer touch the work directly. What Michael Cardew called the work of mud and water must now be handled via air and fire. But engagement with this final stage informs further potting. Flame marks discover previously hidden aspects of form. The mark and hallow resulting from two pots ‘kissing’ will introduce a new focus and light reflected from melted glaze will reveal any hesitation or weakness in the making. Work that is sometimes perceived as having been made spontaneously when the clay is soft or the glaze a cold grey liquid is in fact the result of a deep knowledge of the firing process and what the pot will become. It is knowledge that grows from doing and explains Hamada’s observation that his yunomi, formed with such deft economy and freshness, in fact take a lifetime to make.

For this exhibition Rogers has been specially commissioned to make one hundred yunomi and one hundred guinomi. This is a particular opportunity that few, other than the potter himself, have to develop an appreciation of the work. A close comparison of similar forms can be made, subtle differences observed, preferences interrogated. They work both as individual entities and as a magnificent powerful group. As such they exemplify the essence of a tradition.

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644 17

534 18

The work in this exhibition is unique. It is the result of two years of research into wood firing; but this addition to the processes Rogers employs, important as it is, is not the distinctive element.

The work is similar to that made before and no doubt what ever drives Rogers will mean he produces work on the same theme in the future. But the energy, the quality of life, is particular to this season. Interesting pots, like good wine, do not fully reveal themselves from a first encounter. This exhibition has a large number of vases and jars that either alone or in conjunction with flowers will enrich domestic space. They are an opportunity not only to grow to understand, even love, something through familiarity and use but to be extended by it. Good pots are vessels of social intercourse.

The use of such pots enables us to experience our bodies in a special sense. Pots stand as we do. Independent entities related to one another in form and function. We share the same components: lip, shoulder, belly, foot. We may handle a jug with a determined fist, offer a dish with an open hand; pots direct our body language evoking memory and emotion. Our lips touch the lip of a tea bowl; the contact makes us both aware of the ‘other’ and ourselves. External and internal meet. The volume, weight and warmth of tea held in a yunomi cupped in our hands are transferred though our throat to our belly. We feel the pot both from without and within. We explore pots as a lover.

Sebastian Blackie is a ceramic artist, author of Dear Mr Leach, A&C Black, and Professor of Ceramics at the University of Derby, where he runs a Masters in Art and Design.

19

529 20

508 21

512 22

551 23

659 24

646 25

516

26 510

636 27

619

628 28

645 29

519,508,507

30

518,641,648

31

542

32 513

662

511

537 35

526

527

36

666

667

37

624,528

531,533,534

594

668

617 40

630 41

657 42

547 43

629 44

654 45

559,622

570,569,568

580,582,578,581,579

46

633

47

427,433,550,540,541

598,600,599

48 652,612

625,626,627

49 538,539

649,544,545

618,621,561

50

51

535

614

640

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Biography 1951 1969-70 1970 - 74 1973-77 1978 1981 1982 1984

1985

1986

1987 1988-90 1990 1991 1991 1993 1993 1994 1995

1995 1996

1997

Born Newport, Gwent.

Newport College of Art. Swansea College of Art. Swansea College of Education (S.A.T.D. University of Wales).

Teacher of Art, Cambridgeshire.

Moves back to Wales to open first workshop in Rhayader making oxidized stoneware.

Builds gas-fired kiln.

Research Grant, Arts Council of Wales.

Moves to Cefnfaes Farm. Converts stone cow house into studio and stables into kiln shed.

Builds 75 cu ft oil fired down draught kiln with the help of Arts Council of Wales Grant.

Builds 45 cu ft catenary kiln for salt glazing.

Elected a Fellow of the Craft Potters Association (C.P.A) of Great Britain.

Begins a series of annual summer schools for potters that runs for sixteen years.

Adjudicator, National Eisteddfod of Wales.

Lecturer on B.A. and M.A. courses at North Staffordshire University.

Elected to the Council of the C.P.A. First prizewinner, National Eisteddfod of Wales.

Awarded Crafts Council grant for promotional material.

Organizes a series of major exhibitions around the UK for the C.P.A. Elected Vice-Chair of the C.P.A. Elected a full member of Contemporary Applied Arts.

Elected Chairman of the Crafts Potters Association of Great Britain.

Visits Ethiopia for Project Ploughshare & to set up a women's pottery project in Gondar.

Tours USA giving a series of lectures and demonstrations.

Re-elected as Chairman of C.P.A. for a third term.

Appointed to the Craft Board, Arts Council of Wales.

Re-elected as Chair of C.P.A. for fourth term.

Revisits Ethiopia to oversee continuing work on the woman's pottery project in Gondar.

Workshop tour of USA (Dallas, Houston and Washington).

Lectures on the history of British Studio Pottery in Athens.

Gives week long workshop to Township people in Cape Town, South Africa.

Demonstrates at Maltese Potters annual festival in Malta.

Judge for ceramics competition at the Royal Dublin Society, Dublin.

Teaches salt-glazing, kiln-building at Chungnan University, Taejon, S. Korea.

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1998

1999

2000 2001

2002 2003 2004

2005

2007

2008

Builds new 55 cu ft kiln for salt-glaze.

Awarded scholarship (Harold Wingate Foundation) to build Korean wood fired climbing kiln.

Invited for lecture tour to Canada and USA. Returns to Korea in March.

Selected for Westerwald Prize Exhibition, Germany.

Appointed a trustee of the Craft Potter's Charitable Trust.

Guest demonstrator at the International Festival of Ceramics, Aberystwyth.

Builds a salt kiln at Hood College, Maryland, USA. Prizewinner - National Eisteddfod of Wales.

Workshop tour of the USA. Purchase Award, Orton Cone Box Show, Kansas, USA. Panelist at NCECA in Charlotte, USA. Shows at the World Ceramic Biennale and I.A.C. Exhibitions, S. Korea.

Demonstrator at the Craft Potters Association of Ireland.

Annual Ceramic Festival Workshops in the USA. Orton Cone Box Show, Kansas USA. 'Salzbrand' Exhibition, Hohr Grentzhausen, Germany.

Tours Korea and Japan.

Guest demonstrator at the National Functional workshop, Ohio, USA. Judge for the Orton Cone Box show, Kansas, USA. Re-elected to the Council of Management of the Craft Potters Association of Great Britain.

Completes two-chambered wood fired kiln.

First potter elected to the Royal Cambrian Academy.

Presents a workshop in Bavaria for Kalkspatz.

Featured In TV documentary 'Creative Roads' for HTV. Present two workshops in the USA in January.

One-person show at the Pucker Gallery in Boston, USA. Guest presenter at the Kelowna Clay Festival, British Columbia, Canada.

Contributes to 'The Firing', a programme for BBC radio 4.

Awarded ACW grant.

One-person show at Goldmark Gallery, Rutland.

Presents two further workshops in the USA. 'Phil Rogers - Potter' book published in the USA. Fifth one-person show at the Pucker Gallery in Boston, USA. Recipient of the major Creative Wales Award from the A.C.W. Becomes Vice Chair of the CPA for the second time.

A new film by Charles Mapleston produced by the Goldmark Gallery entitled Phil Rogers - A Passion for Pots.

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643 55

525

540 57

505

Solo Exhibitions 1978 1981-82 1982, 89, 92, 96 1982, 90 1982, 88 1984-90 1986, 89 1985, 86, 87, 89 1989 1990 1990 1992, 94, 96 1993, 95, 2000 1993, 95 1994, 96 1997 1998 1999 2000 2002 2003

2004 2005 2005 2006

2007

2008

Quay Gallery, St. Ives.

Century Gallery, Henley on Thames.

Rufford Craft Centre.

Wyeside Arts Centre, Builth Wells.

Aberystwyth Arts Centre.

Oriel 31, Welshpool.

Chestnut Gallery, Bourton on the Water.

Contemporary Ceramics, London.

Booth House Gallery, Holmfrith.

Llantarman Grange Arts Center.

Model House, Llantrisant.

Open Eye Gallery, Edinburgh.

Harlequin Gallery.

Hart Gallery. Nottingham.

On Line Gallery. Southampton.

'Tho Art' Space Gallery, Seoul, Korea.

Twenty Years a Potter, Harley Gallery.

Bircham Gallery, Norfolk.

Bettles Gallery, Hampshire.

Pucker Gallery, Boston, MA. Harlequin Gallery, London.

Pucker Gallery, Boston, MA. Contemporary Ceramics, London.

'Showcase', Contemporary Applied Arts, London.

Oakwood Gallery, Nottingham UK. Harlequin Gallery, Greenwich, London.

Alpha House Gallery, Sherborne, Dorset.

Pucker Gallery, Boston, USA. Candover Gallery, Arlesford, England.

Goldmark Gallery, Rutland.

Pucker Gallery, Boston, USA. Gallery St Ives, Tokyo, Japan. ' COLLECT', Victoria and Albert Museum.

Pucker Gallery, Boston USA. Candover Gallery, Arlesford, England.

The Gallery at Bevere, Worcester.

Ceramic Art London, Royal College of Art. Aberystwyth Arts Centre.

St Ives Gallery, St Ives, Cornwall.

Goldmark Gallery, Uppingham.

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Work in Public and Private Collections Museum of Ceramic Art, Mashiko, JAPAN. Victoria and Albert Museum, London, ENGLAND. National Museum of Wales, Cardiff, WALES. Newport Museum and Art Gallery, Newport, WALES. Minneapolis Museum of Art, Minneapolis, MN, USA. Museum of Fine Arts, Boston, MA, USA. Birmingham City Museum, ENGLAND. Detroit Institute of Art, Detroit, MI, USA. Ashmolean Museum, Oxford, ENGLAND. Museum of International Folk Art, Santa Fe, NM, USA. Royal Ontario Museum, Toronto, Ontario, CANADA. City Museum, Stoke On Trent, ENGLAND. Arizona State University Museum, Tempe, AZ, USA. Keramik Museum, Grentzhausen, GERMANY. University of Wales, Aberystwyth, WALES. Buckinghamshire Museum, Aylesbury, ENGLAND. Princessehof Museum, Leewarden, NEDERLANDS. Cleveland Museum of Art, Cleveland, OH, USA. Worcester Art Museum, Worcester, MA, USA. Nottingham Castle Museum, Nottingham, ENGLAND. Art Gallery of Nova Scotia, Halifax, Nova Scotia, CANADA. Mint Museum of Craft and Design, Charlotte, NC, USA. Newark Museum of Art, Newark, NJ, USA.

585,586

60

Aberdeen Museum and Art Gallery, Aberdeen, ENGLAND. Art Complex Museum, Duxbury, MA, USA. York Museum, (Bill Ismay Collection), York, ENGLAND. Sackler Museum at Harvard University, Cambridge, MA, USA. World Ceramic Center, Icheon, S. KOREA. The Schein-Joseph Museum at Alfred University, NY, USA. Pinakothek der Moderne, Munchen, GERMANY. Collection – Adolf Egner, Frechen, Koln, GERMANY. Rhode Island School of Design, Providence, RI, USA. Leicester City Museum, Leicester, ENGLAND. Allen Memorial Art Museum, Oberlin College, Oberlin, OH, USA. Fitzwilliam Museum, Cambridge, ENGLAND. Swansea City Museum, Glynn Vivien Art Gallery, Swansea, WALES. Jan van Houte Collection, Institut Pieter Brueghel, Veghel, NEDERLANDS. Philadelphia Museum of Art, Philadelphia, PA, USA. Keramik Museum, Hohr Grentzhausen, GERMANY. Winnipeg Art Gallery, Winnipeg, Manitoba, CANADA. Essex Peabody Museum, Harvard, Boston, USA. Paisley Museum of Art, Paisley, SCOTLAND. Museum of Ceramic Art, Mino, JAPAN. Frederick R. Weisman Art Museum, Minnesota, USA. Ceridigion, Powys and Monmouthshire County Councils, WALES.

Publications, Film, TV & Video Ash Glazes

Phil Rogers, published A&C Black. 1992.

Reprinted 1996.

Ash Glazes 2nd Revised Edition published 2003.

Throwing Pots Phil Rogers, published A&C Black. 1995.

Reprinted 2000, 2001, 2005.

Salt Glazing Phil Rogers published A&C Black. 2002.

Phil Rogers-New Pots 2005 Goldmark Gallery, essay by David Whiting. 2005.

Phil Rogers-Potter Pucker Gallery, essay by Andrew Maske. 2007.

Numerous articles and essays for various magazines and catalogues.

Two Potters.

Phil Rogers and Mo Jupp.

Video production by Invision Films. 1994.

UK Festival of European Ceramics. Video. 1992.

Art Talks with Mal Pope. HTV. 2002.

Creative Roads A documentary film made for HTV Television. 2004 (prod. Gwenda Richards).

The Firing For BBC Radio 4.

Phil Rogers-A Passion for Pots A film by the Goldmark Gallery.

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Exhibition Pots Illustrated in Catalogue A full list of pots is included in the exhibition price list

427 433 503 505 507 508 510 511 512 513 516 518 519 525 526 527 528 529 531 533 534 535 536 537 538 539 540 541 542 544 545 547 550 551 559 561 568 569

Yunomi. Woodfired, Kohiki.

Yunomi. Woodfired, Kohiki .

Large Jar. Tenmoku with finger wipes.

Large Bottle. Nuka with finger wipes.

Bottle with Two Lugs. Nuka with wiped decoration.

Tall Bottle. Woodfired, Nuka with wiped decoration .

Tall Bottle. Tenmoku, raised lines.

Tall Bottle. Pine ash, ridges & impressed decoration.

Tall Bottle. Iron, ash & Nuka with combed decoration.

Tall Bottle. Nuka over slip with combed decoration.

Bottle. Tenmoku, raised lines.

Oval Bottle. Tenmoku with wiped decoration.

Oval Bottle. Nuka with wiped decoration.

Faceted Squared Bottle. Ash. Large Press Moulded Bottle. Ash & hakame.

Large Press Moulded Bottle. Salt glazed & iron brushwork.

Press Moulded Bottle. Tenmoku with finger wipes.

Press Moulded Bottle. Tenmoku with finger wipes.

Press Moulded Bottle. Nuka with finger wipes.

Press Moulded Bottle. Tenmoku with finger wipes.

Press Moulded Bottle. Hakame & shino.

Large Plate. Iron & Nuka.

Large Plate. Pine ash.

Lidded Jar. Pine ash.

Large Oval Bottle. Salt glazed with fired on shells.

Oval Bottle. Salt glazed with fired on shells.

Bottle. Ridged, Kohiki.

Bottle. Kohiki.

Bottle. Nuka & slip.

Korean Type Bottle. Hakame.

Korean Type Bottle. Hakame.

Jug. Woodfired, Nuka.

Jug. Kohiki.

Tall Bottle. Pine ash with combed decoration.

Chawan. Faceted. Shino.

Chawan. Salt & ash glazed.

Chawan. Shino.

Chawan. Shino.

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size in cm

page

10 x 7.5 9.5 x 7.5 36 x 26 37 x 27 32.5 x 23 47 x 20.5 45 x 22 46 x 25 49 x 24 33 x 17 34 x 19.5 27.5 x 17 26 x 17 25 x 13 23 x 10.5 23 x 10.5 17 x 18 18 x 9 17 x 10 17 x 10 17 x 10 10 x 43.5 10.5 x 45 32 x 28 23 x 16.5 15 x 10 25 x 12 25 x 12 24 x 13 27 x 15.5 25 x 15 30 x 17 25 x 13.5 45 x 25.5 9.5 x 10.5 11 x 10 9.5 x 11.5 9 x 11.5

45 45 60 56 28 19,28 24 32 20 30 24 29 28 54 34 34 36 18 36 36 16,36 49 64 33 47 47 45,54 45 30 48 48 41 45 21 44 48 44 44

570 578 579 580 581 582 585 586 594 596 598 599

Chawan. Shino.

Lidded Jar. Shino.

Lidded Jar. Woodfired.

Lidded Jar. Shino.

Lidded Jar. Woodfired.

Lidded Box. Woodfired.

Box. Shino.

Box. Shino.

Square Plate. Nuka.

Faceted Bottle. Woodfired.

Bottle. Woodfired, pine ash.

Bottle. Woodfired, Nuka top.

608,655,604 582,610,651,581 596

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size in cm

page

10 x 11 10 x 10.5 12.5 x 11.5 13 x 12.5 15 x 12.5 13 x 13.5 7.5 x 8 6x7 6.5 x 24 15.5 x 9 14 x 9.5 13 x 8

44 44 44 44 44,62 44,62 58 58 37 62 46 46

600 604 608 610 612 614 617 618 619 621 622 624 625 626 627 628 629 630 633 636 637 640 641 642 643 644 645 646 648 649 651 652 654 655 657 659 662 666 667 668

Bottle. Woodfired, Nuka top.

Large Bottle with Small Handle. Woodfired.

Bottle with Handle. Woodfired, pine ash.

Jar. Pine ash glaze with combed decoration.

Jar. Woodfired with feldspar inclusions.

Jar. Irabo glaze.

Faceted Squared Bottle. Nuka.

Bottle. Salt & ash glazed with combed decoration.

Bottle. Ridges, pine ash with Nuka top.

Bottle. Ash & salt glazed.

Faceted Bottle. Salt glazed.

Press Moulded Bottle. Nuka.

Faceted Squared Bottle. Salt glazed & side fired.

Faceted Squared Bottle. Salt glazed & side fired.

Faceted Squared Bottle. Salt glazed & side fired.

Jug. Tenmoku & Nuka.

Jug. Nuka with pellets.

Jug. Nuka & slip.

Set of Plates. 6 small & 1 large. Kohiki.

Tall Bottle. Pine ash with combed decoration.

Tall Bottle. Tenmoku, wiped.

Vase. Irabo glaze.

Tall Bottle. Tenmoku, wiped.

Bottle. Woodfired, Nuka with ridges.

Bottle. Pine & elm ash.

Jug. Woodfired.

Large Jar. Tenmoku & pine ash.

Large Bottle. Pine ash with ridges & combing.

Oval Bottle with Two Lugs. Tenmoku & wiped decoration.

Squared Bottle. Pine ash over hakame & incised pattern.

Bottle. Woodfired, pine ash.

Jar with Lugs. Woodfired.

Large Jar. Woodfired, ridges.

Large Bottle. Woodfired with ash.

Round Bottle. Woodfired with Nuka top .

Round Bottle. Nuka with finger wipes.

Bottle. Nuka & slip with combed decoration.

Large Press Moulded Bottle. Nuka with finger wipes.

Large Press Moulded Bottle. Hakame & iron brushwork.

Square Dish. Tenmoku with finger wipes.

size in cm

page

13 x 8.5 31.5 x 22 33 x 21 22 x 19 19.5 x 12.5 31.5 x 17.5 33.5 x 18.5 28.5 x 20 25 x 17.5 21 x 15.5 22.5 x 14 17 x 17 26 x 15 26 x 16 26 x 15 33 x 22 24 x 15 23 x 16 2.5 x 16 & 4 x 26 46 x 22 35.5 x 18 19.5 x 10 46 x 22 34 x 20 29.5 x 16 26 x 18.5 43 x 30 45.5 x 30.5 29 x 19 26.5 x 13.5 23 x 15 28 x 18 38 x 24.5 40 x 21.5 32 x 21 31 x 25.5 31 x 14.5 23 x 10.5 23 x 10.5 6 x 24

49 62 62 62 46 50 38 48 25 48 44 36 47 47 47 26 42 39 45 25 13 50 29 2 53 15 27 23 29 48 62 46 43 62 40 22 31 35 35 37

100 Guinomi and 100 Yunomi are shown on the supplement to this catalogue.

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A hardback edition of 50 copies of this catalogue includes a signed photograph.

Text © Sebastian Blackie, Photographs © Jay Goldmark, Design © Porter/Goldmark ISBN Paperback 978-1-870507-53-0 Hardback 978-1-870507-52-3

2008 GOLDMARK UPPINGHAM RUTLAND LE15 9SQ

Phil Rogers pots are available from the Goldmark Gallery.

Visit or view on line at www.modernpots.com

The Goldmark dvd on Phil Rogers follows him to Japan and the USA and shows him making and firing pots in his native Wales .

The film runs to 1 hour with 2 hours of extras.

front cover: 655 Large Bottle. Woodfired with ash back cover: 546 Jug. Woodfired, pine ash

GOLDMARK GALLERY 01572 821424 info@goldmarkart.com