There has to be an easier way . . .

One of the most significant changes resulting from moving my studio to Cornwall is that instead of working in a very creative atmosphere, as at Wimbledon, I am now surrounded by more practical types.  I am flanked by a dog grooming parlour and the store for a fish and chips enterprise.  There are at least two units involved in mechanical engineering plus a shellfish processing plant: sensible, down to earth practical types who know a good piece of kit when they see one.

So conversations range round subjects such as can I keep a look out for the gas bottle delivery or whether there is any life in some old rotavator rather than whether or not to enter a particular exhibition or competition.  It makes a change but, even more than in my lovely artists’ community, I am prone to feeling like a fish out of water from time to time and it is because of this that certain bits of my machinery do not come out until everyone else has shut up shop for the day.

My most exciting piece of kit is a wet diamond polishing machine.  It is a veritable monster!  I use it to polish, rather than glaze, the outside of my work.  It is what gives my pieces their tactile, lustrous quality.

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The diamond polisher is what gives my work such a tactile quality.

It does, however, give me some difficulties.  True to its name, this polisher is wet!  Extremely wet!  So wet that I become soaked to the skin in very short order, despite full waterproofs.  It shoots water in every conceivable direction and leaves no part of me dry.  I have to use it outside in the yard.  If I worked in my studio I would run the risk of finished work floating out of the door.  It also blasts lumps and bumps off the work, throwing bits of grit everywhere.  I wear safety goggles to protect my eyes but they don’t have wiper blades and so it is minutes few before I can hardly see out.  It resembles working in a car wash.

Imagine my embarrassment, then, the other evening.  Everyone had gone home and it seemed safe to bring the monster out into the yard and start polishing.  I had not appreciate the importance of it being Friday until the lovely, young fish and chip man arrived to collect his van for his regular weekend run to the village.  It was blowing a stiff easterly so I was freezing cold as well as drenched to the skin.  With my hair plastered down over my goggles I couldn’t actually see who was talking to me.  A large bin liner worn underneath my  waterproofs is meant to mitigate for the fact that they are not in fact waterproof but what is provides in terms of practicality it lacks in the style department.  The dungarees belonged to my father in law and should have been thrown out years ago when the shoulder straps failed to maintain their elasticity.  They were several inches too long for me so I have sliced them off rather unevenly below the knee, revealing more than is fashionable of a pair of blue floral wellies which have been kicking around the house for years.  It is not an altogether fetching look.

My friendly chippy worked away on his van, his gas bottles and his fish for a while but in the end he couldn’t resist it.  ‘So, there has to be an easier way than that, right?’

Yes, I rather suspect there does.  I need to find out how to tame my monster before I die of drowning.

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Don’t let me drown

New Friends

One of the very first things that I did when I moved the studio to Cornwall was to join the Cornwall ceramics and Glass Group.  It seemed to me to be really important to be involved with what is happening locally when I am no longer working in a large group studio with all the benefits that come with being part of a close knit team.  Having joined I signed up for a masterclass with Richard Phethean.  I was eager to meet other members of the group and to try and make some new friends.

In a way it was an odd event for me to sign up for.  Richard works in Terra Cotta, I use porcelain.  He throws, I build by hand.  He decorates with slips, I do not. His work is completely different, stunningly beautiful and fabulously exciting.

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Richard makes thrown, altered and thrown pieces in terra cotta.

Yet I am confident in my belief that you always learn something from demonstrations exhibitions and visits even if you think there is no connection between your practice and the one on show and I was certainly not disappointed by this day.  Richard shared a number of his tricks of the trade during the day, including tips on joining, cutting on an angle and application of slip each of which got me thinking about what I do in terms of joining and cutting.  Why don’t I alter my pieces?  What would happen if I fired my work to a different temperature?  How about making slips and washes from my found materials and applying them to the surfaces of my work?  And if I do, what would it look like if I combined the tricks shown by Richard for using newsprint to mask areas off with the tricks that I was taught by Annie Turner?  One day I definitely think I need to start cutting into my work and overlapping things.

 

But it was some of his more ‘general’ remarks which will stay with me, two of which struck a particular chord.

 

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Slip decoration using newsprint masking.

 

When he was talking about the way that his work changes and develops over time he said that ‘you know when you are getting tired with it because you can’t be bothered to open the kiln.’  That very morning I had popped into the studio to collect something and walked straight past the kiln without opening it.  I suspect that it is time for a shift!

Later, when he was summing up, he began to talk about the need to walk through the world with your eyes open and of having the freedom to follow a path.  He described how visual stimuli tend to ‘go in through your head and out through your hands’.  I like that.  I just hope that my work reflects it.

 

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For sale – I now have my very own piece.

The entire day was fascinating and I even bought my very own Richard Phethean piece home with me as a prompt for all the things it made me think about.

 

I think membership of the group is going to be a really good experience for me.  I am hugely looking forward to the next masterclass, which features The Japanese artist Taja who makes hand built porcelain pieces, from which I anticipate gaining more insight into the way others think about their practice.   Oh and I would also like to thank the lovely man who shared his lunch with me when I discovered that I had left my sandwiches lying on the kitchen work surface at home!