The Harris Museum commissioned a film about my making process, which is interesting to watch. As a maker I am infinitely influenced by the sea, whether it is painting patterns, carving boats or actually using found materials as part of my making.
For the uninitiated, I should explain what a Saggar is, it is a big piece of pottery that smaller pottery is sealed in. Traditionally this was done in Stoke on Trent to protect the pottery from the coal fire that they fired their kilns with. Modern Potters use them to get a reduction environment inside an electric kiln, this stops the kiln from getting damaged and brings some different effects to the pots. I threw a a saggar a few years ago and it has been sat on the top shelf on my studio for a few years now, not…
So recently I picked up Tommy Kane’s An Excuse to Draw, as a treat for myself as I reached 400 days in a row sketching, and painting. I showed the start of the process on instagram but the randomness of my skill level changes daily and is still very frustrating. I probably wouldn’t have shared this book but there was something I discovered with the first few pages that really hit home with me.
One of the advantages of going back to a form of making I haven’t used much and I am not comfortable with gives me fresh insights into the making process, for me hand building is something I never really pushed on with like I did with throwing. Each part of the hand building process has its own rhythm; it doesn’t matter how fast or slow. What is more important keeping a steady rhythm, rhythm improves the flow of making, in fact trying to go fast and misplacing hands can cause the mind to pause and wonder what it is you…
I loved my time on the “Writing Matters” workshops that were provided by MIRIAD for researchers. There are some really skilled writers with distinct voices in the group. It has made me want to write more but not in a stiff academic way, but in a more human flowing voice. Talking to other members of the group about my writing and my research revealed to me that what I was actually interested in my work is actually communication. I had never thought about it this way but all my research and thinking seems to point towards looking at different ways…
With my work I decided some time again that I wanted to make playful work especially as we has limited time, so why make something serious and stagnant. It’s about make pots that contain energy and liveliness, which can be difficult in a medium that becomes “set in stone”. I can’t just hand a customer a soft clay pot and touch the fresh clay and let them feel how alive it is, and how the slightest movement can change its form, but I want to leave that impression that it was touched with hands and not just mass made to…
So this week I made some prototype saggar formers and saggars, I mixed my own clay with sawdust, grog from broken pots and some molochite for added strength. Now if I didn’t have a deadline I would let them dry over two weeks, but I had a deadline so I force dried overnight and fired the next day so you will see some cracks in the larger saggar. Also if you want to make a saggar former don’t leave such big gaps as the clay can get stuck in them making the harder to remove.
