Tag Archives: ceramics

How not to do things!

Carline Winn, Sculpture
Carline Winn, Sculpture

Yesterday I went to see the selling exhibition of 23 members of London Potters at Redlees Studios in Isleworth.  What a fabulous environment in which to work!  The studios are based in a wonderful building converted from the Victorian stable block of Redlees Park, complete with clock tower!  The studios are arranged in a horseshoe around a lovely cobbled courtyard.  The sun was shining and I spent some time sitting in that courtyard soaking up the atmosphere and enjoying the ambience of the place which, if it hadn’t been for (frequent) interruption of planes approaching the runway at Heathrow would have been quite blissful.  The exhibition was interesting.  There was some great work.

Lindy Bartletta
Lindy Bartletta, forms inspired by the landscape

I particularly enjoyed the work of Lindy Barletta whose thrown porcelain forms had a strong landscape interest not dissimilar to my own and also of Caroline Winn whose work reminds me very much of that of Gillian Lowndes with her inclusion of metals and other materials and her use of clay.

I also thoroughly enjoyed chatting to some lovely makers about both their work and mine.  So what did I do wrong?  Well, a number of the makers were kind enough or interested enough  to ask about my practice.  ‘Oh yes!’ I announced, proudly.  I am doing a ceramics diploma at City Lit.  I finish this summer.  So they wanted to know what I make – could I describe my practice intelligently? No!  They wanted to know where I had my studio.  ‘Oh yes!’ I declared.  ‘I have a studio in Wimbledon.  It is a fabulous set up behind the dog track.  We are having our Open Studios in three weeks time.  You should come along.’  So several times I was asked for information about either my work or about the up coming Open Studios at Wimbledon and I suddenly found myself in the position of 1. Not being able to remember the exact date of the Wimbledon event, 2. Not having any o f the invites for said Open Studios in my bag, 3. Not having any of my own business cards in my bag. 4. Not having any kind of a note book for writing down things that occurred to me as I was chatting to people.  But it is ok.  I have not finished the diploma yet.  I still have 9 whole weeks to become a professional.  It’s fine – I can relax for a while longer, can’t I?

No!  I feel a very long to do list coming and at the top of it is that I need some kind of a ‘Grab bag’ of essential kit to take to exhibitions of other people’s work so that I never again miss the opportunity to promote myself as an artist.  Time to pump up the ego, I think!  Oh, and by the way, in case you think that I have missed another opportunity – Here   is the invite to the Wimbledon Artists Open Studios which takes place from 14th – 17th May and where I shall be exhibiting my work in the Blue Building, studio 403.  Pop along and have a chat! Poster May 2015 Open Studios

I Went to a Marvellous Party . . .

Amazing work by Jong Jin Park
Kyra Cane’s work has a beautiful subtlety to colour and tone.

Turner%20Drift%20Net[1]
Drift Net, Annie Turner: A wonderful example of a unique style in ceramics.
Well, it was actually an exhibition: Ceramic Art London at the Royal College of Arts in Kensington.  It is one of the great annual showcases of ceramic art in London every year with eighty makers selected from across the world and it is always a fantastic place to see what is new and listen to some useful hints and tips in the various lectures taking place.  So, what is new?  I was particularly intrigued by the work of Jong Jin Park who is a relative newcomer on the scene.  He makes use of paper and clay slips, just as I do, but he works in a very different way and his work is certainly different.  I was amazed to hear that he does not create the final shapes until he cuts into the piece after having fired it to 1300C.  I cannot wait to try that! In fact, seeing Jong Jin’s work and then spending quite a while chatting to Robert Cooper about his work, other peoples work and then, rather less significantly as far as the exhibition goes, my own work might well have set me on the course for my final semester.  Thank Heavens I hear you cry, no more heart searching then!  Robert was selling well at the exhibition, which was great to see – I certainly think he deserves to!  It was also wonderful to see that another of my tutors, Annie Turner, had been presented with the Emanuel Cooper Prize.  That was a fantastic choice.  Annie’s work is certainly different; fragile, coiled pieces which are about being rooted.  It resonates with me on so many levels and it is great to see her skill being given recognition. I was also drawn to Kyra Canes wonderfully evocative work.  Once again I was touched by the generosity of the artists who I talked to.  I do not know of any other world in which the experts would be so willing to share their own special tips with a newcomer.  It never ceases to amaze me and to fill me with joy that my chosen medium is peopled with such kind and open people.  The discovery program lectures which I attended were a fine example of this with Derek Wilson telling us all kinds of experiences and pitfalls which, for a mere beginner, seemed invaluable.

All in all this was a great day and if I came away with one important message it was the need for a group of pieces to work together.  All those exhibiting had taken a considerable amount of care to present a coherent exhibition which worked in terms of colour, groupings and the level of variety.  So now I need to take that on board, throw away the rubbish and start making an exhibition rather than a bunch of experiments.  No more excuses, Macklin!