So these were the original wonky pots that I made out of frustration of wanting to make the sort of work I wanted rather than being a production potter. The idea was to make them with plenty of chunky grog so fine details wouldn’t be possible. The slip was then dribbled down the pots and they were shock to encourage the slip to keep dripping
You may remember my post on Saggars and some of my results. I really want to talk a bit more how these wobbly pots are made.
It was when this wonky pot gained traction on instagram and ended up going to live in Portugal I decided it was time to make some more wonky pots.
Naked wobbly pots awaiting their decoration. They are made from a secret stoneware earthenware blend with some iron oxide added for effect. They were thrown loosely and then treated to a beating with a piece of 2 by 1 that was in the workshop.A stream of porcelain slip launched towards the wonky pots. I fill a cup of slip and fling it as hard and fast as I can.the impact of throwing the slip on the pottery sends it flying off in all directions. this is a different round of throwing slip to the video andthe splash is so violent there are still particles of slip in the air.Another batch of wonky pots all slipped and drying in the garden.Not all my wonky wobbly pots are saggar fired these days, this was fired next to the saggar and has gone to live with the amazing Lighthearts in Brum whom I owe a lot to.
I really love to make these, and I really want to make more, I don’t care about function with this form, I just want to create something different. In fact I want to make them more wobbly, wonky and uncontrolled.
I don’t make anything simply and I need more iron oxide and terracotta to make another batch of wonky pots.
I want to know as an audience if there is anything you want to see more off from my pottery videos or blog articles? Please just let me know in the comments below.
Patia Davies film on making buttons shows a real sense of rhythm to life and the processes she is going through. The video isn’t a video of a teacher standing in front of a class and doesn’t stop to explain. For someone with a background in making there is a lot she is teaching and a lot to learn. We see in this video there is efficiency to making buttons as they are a by-product of making platters.
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…
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.
This is an extract from a talk first given at the Material Matters Seminar at Manchester Metropolitan University on 10th December 2014. It was presented with the following Svend Bayer YouTube video in the playing Background. It was originally published on my research blog. In my early twenties I started searching for my own identity, I was stuck 200miles away from home studying the most hands on of all the classical science degrees, chemistry. Though as hands on as chemistry was there is something very hands-off about concentrated Hydrochloric acid that had a permanent place on my workbench. My…
For a while I have been thinking about tiles as an act of experimentation, they are something that can be created in the fraction of time for throwing, there is a lot less focus that goes into creating them, no hunching over the wheel. In some ways they are quite disposable. I don’t generally use tile for glaze tests as they don’t have gravity and thickness’s similar to pots but I do use them to test ideas, patterns, new and more recently my saggars to see what effects are possible. In these sorts of ways the tiles are part of…
I have never been to see Winchcombe Pottery, so when I was visiting the Lighthearts earlier in July they suggested we should go on a trip there. In case you don’t know much about their history click here, needless to say Michael Cardew reopened the country pottery in 1926 with the help of Elijah Comfort and Sydney Tustin. It was then taken over by Ray Finch in 1946 and was run by him and his family until the last year. It is now run by Matt Grimmitt who is the Great Great Grandson of Elijah Comfort. Entering the pottery they…
