And Now For Something Completely Different

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I found myself in a long queue trailing up the stairs with my ceramics tucked under my arm.
Last weekend I was privileged to take part in the Battersea Art Station exhibition, the inspiration for which was the new development at Battersea Power Station.  I have never seen so many paintings of those iconic chimneys as I did when I visited the show on the Saturday!

Delivering my work was exciting.  I have not had to queue to hand over my art before but here I joined a long trail which snaked along a landing and down the rather impressive staircase of the Arts Centre to await my turn for the big handover.  By the time I reached the front of the line I was feeling rather pompous; how important must I be to be joining such illustrious company!  ‘So,’ I asked in my chattiest, “Oh this is all perfectly natural to me” voice, ‘What are the arrangements for the Private View?’  I confess that I was a bit taken aback by the response.  It turned out that this exhibition was not for the glory of the artists at all.  No free prosecco and canapé for me!  Oh no, this, it turned out, was for the benefit of those who have committed to living or working on the new development. What a remarkable idea – an exhibition of art where the focus was on people who might like to buy art!  The private view was for them to have the opportunity to look around and buy a reminder of the history of the site. So that put me well and truly in my place!

It felt strange to hand over my work for someone else to curate it.  I said a tender farewell to my treasures, still cosseted in their  bubble wrap (what did we do before that stuff was invented), with no idea how they might be presented.  As I entered the exhibition on the Saturday morning I was a bit put out to discover that one of my pieces was apparently just ‘dumped’ with quite a lot of clutter around it on the table at the top of the stairs.  However, before I could grumble to my husband, he pointed to the little red dot on the card inside it.  Sold!  Whilst I wasn’t even there!!

The Battersea Vessel low res
The very first Bridget Macklin piece to make it into an archive!

At the end of the weekend I returned to fetch the second of my pieces, which had not sold.  With amazement I discovered that the first piece had been bought by the organisers of the development who want it for their archive.  So I am over the moon to be able to report that I now have my first ceramic piece in a London collection.  Where and when it will be on show I have no idea but I am terrifically excited to know that my vessel was considered to be a useful reference for the power station, after all, that is what my pieces are meant to do; tell a story.  So I think I can safely say that this time I got something right.

Next weekend is the

Put it on and Scrape it Back

I thought that I would follow on from my theme of last week in which I described one of Annie Turner’s matra to the ceramic  diploma students at city lit.  I popped in to college yesterday to borrow some shelves and some plinths for the upcoming Great Northern Contemorary Crafts Fair which I have been invited to take part in as an emerging artist and as a direct result of exhibiting with City Lit at New Designers this summer.

There they were, the new cohort.  Looking a bit anxious and having a group session showing their summer projects to the rest of the students with Annie.  Oh I remember that day!  Have I done enough?  Have I done the right kind of things?  Is my work good enough for me to be here?

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A series of vessels under construction for the Royal Opera Arcade gallery’s sculpture and ceramics exhibition in October
scraped back
Knowing where to stop is quite important or you run the risk of scraping all the way to nothing!

But here I am two years on and one look at Annie gently coaxing the students out of their ceramic shells is enough to remind me of Annie’s instruction.  All week I have been ‘putting it on and scraping it back’!

What this means in practice is that you can add a lot of decoration or thickness to a piece but that the magic comes when you start taking it back off again so that you are left with just a trace.  This image shows what I mean quite well.  At the start the  vessel looks dreadful – smudged colours and no definition.  But as you begin to scrape away the outer layers line and flow appears.  You can control it to some extent but the real trick seems to be to know how far back to go.  It can feel a bit like sharpening a huge beam of wood and ending up with a small pencil but if you get it right it is really satisfying.

It seems to me that I am suddenly discovering a way of working which I really enjoy and which other people seem to appreciate as well.  I now have 4 exhibitions in the next five weeks, a private commission and, of course, the next open studios.   All of them are based on work which involves a lot of scraping.  In fact it seems to me that there are times when most of a vessel ends up on the floor.  But if what people want is the bare bones, scraped thin – well that’s fine by me because the process is so satisfying!