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
9