Newsletter

Spring 2017 www.anglianpotters.org.uk

1 Anglian Potters Officers Chairman’s Letter President – Grayson Perry I’m really looking forward to another Chairman – John Masterton busy year for AP. We are getting new 15 Maylins Drive, Sawbridgeworth members signing up every week, so Herts CM21 9HG 01279 723229 john@ welcome to you all. I hope you enjoy our johnmasterton.co.uk company. There’s a lot to join in with. Vice Chairman – Jerry Finlayson Trudy has arranged a great series Mill Farm Barn, Wades Lane, Shotley of demonstration days, and we are Ipswich IP9 1EG 01473 788423 [email protected] planning three open exhibitions this year, including one at a new venue: The Secretary – Jennie Longbottom Undercroft in Norwich. I hope that this 13 Park Avenue, Little Paxton St Neots PE19 6PB 01480 394947 will encourage even more of you to join [email protected] in to share your work with the public. attending that we should go ahead. Treasurer – Celia Greenaway There is more information about this 33 Russet Close, St Ives elsewhere in the Newsletter (page 3). So, we have been working away to Cambridgeshire PE27 3NN 01480 393067 The number of show events that groups submit our application to the Charity [email protected] of AP members have been involved with Commission, which of course requires Editor – Peter Warren has grown over the last few years, and if considerable paperwork. 2 Burrows Close, Clifton there is anything AP can do to support The first thing we have done is to Shefford SG17 5EG 01462 621946 group adventures, please ask and we will generate a new constitution, based on [email protected] see what can be done. We’re very keen to the CIO model published by the Charity Membership Secretary – Vivienne Burns spread the word. Commission. We were fortunate to get The Cowshed, Walnut Tree Farm Thorington, Saxmundham I’ve been dodging my very cold a copy of the submission made by our Suffolk IP17 3QP 01502 478065 workshop during January, and trying to neighbours in Dacorum and Chiltern [email protected] complete our submission to become a Potters Guild, which gave us a head start. Press & Publicity Secretary – Christine Pike Charity. Most of the ‘governing document’ is Puddlefoot, Bridge Rd, Downham Market Since our founding in 1983, Anglian about the duties and responsibilities of Norfolk PE38 0AE 01366 380229 the trustees, and the running of general [email protected] Potters (EAPA as was) has been a simple unincorporated association, governed by meetings. The final version is now Exhibitions Organiser – Ian Vance a constitution that has been upgraded available on the AP website. Most of the Larkfield, Debden Road, Newport current committee will become trustees, Essex CB11 3RU 01799 540137 from time to time to cope with changes [email protected] as we have grown. A consequence of and will continue to be elected in much being unincorporated is that there is a the same way as before, retiring in Selected Members Secretary – rotation and being elected at the AGM. Anja Penger-Onyett potential liability for uninsured problems 23 Park Lane, Blunham that may have to be borne by all of I hope that by the time you read this Bedfordshire MK44 3NH 01767 641435 our members. I don’t think that we had our submission will have been finalised. [email protected] realised this until the issue was raised at Approval is supposed to take about 40 Events Organiser – Trudy Staines the AGM last May. days, so we shall see. We would like to 83 The Lammas, Mundford Clearly this is not something that any have everything in place for the start of Thetford IP26 5DS 01842 879011 our new financial year in April. [email protected] of us would wish to continue, so we searched for potential solutions. After What changes will you see? Not a lot, IT Organiser – John Masterton some deliberation and fact-finding I hope, apart from the protection of 15 Maylins Drive, Sawbridgeworth discussions with neighbouring potters limited liability, and maybe a bit more Herts CM21 9HG 01279 723229 groups, we decided that the best formality at the AGM. One potential [email protected] approach would be to change our status benefit is that we should be able to claim to that of a Charitable Incorporated Gift Aid from HMRC. This could boost Organisation (CIO). This is a relatively our income from subscriptions by up to new option, set up by the Charity 25%. If you are a UK taxpayer, and you Commission in 2013, precisely to cope agree, we will be able to claim Gift Aid Cover with small organisations like ours. It on your subscription. Our subscription could be thought of as a ‘charity lite’, form for 2017/18 will include a box to Svend Bayer at allowing us to become incorporated tick so we can set this up. I think this – much like a limited company – but only needs to be reviewed every four Mundford only having to deal with the Charity years, so it’s not too much extra effort. Commission, not Companies House. I hope to see you at one of our events. Such a major change to our status John Masterton Photograph required agreement from the membership, hence our calling of the Nicki Darrell EGM in November, when there was unanimous agreement from the members

2 Anglian Potters Newsletter Spring 2017 Editor’s Notes

Contents Page 2 Anglian Potters Officers | Chairman’s Letter Page 3 Editor’s Notes | New Exhibition in Norwich Page 4 College Stoke | Dolby Gallery, Oundle Page 5 Annual Selection Meeting | AP Clay Stores Page 6 Svend Bayer at Mundford Page 8 Jon Faulkner, Salt Glaze Potter Page 10 Art in Clay, Farnham Page 11 Response to: The Potters Journey | Thaxted Potters | Triple Vision Page 12 Potters Camp Wood Page 13 Walberswick | Fire and Flux Page 14 Innovations in Art Demonstration days at Mundford offer Page 17 Members’ Websites members the opportunity to learn, first hand, the skills and techniques of the Page 18 Stamford Market finest ceramic artists. Care is taken to Page 19 Pottery Courses run by Members bring a variety of expertise to Anglian Page 20 A Selection of Events in 2017 Potters. In the past few months, for Page 21 From the Archives: How Safe Are You? | AGM Advance Notice example, we have been treated to the sculptural skills of James Outibridge; the Page 23 Ceramic Helpline large throwing and firing skills of Svend Page 24 Diary Dates | Membership Fees | Advertising Rates | Deadline Bayer and, in January, the wonderful animal building skills of Karen Fawcett whose emphasis on thorough New Open Exhibition in Norwich observation of her subjects by drawing We are very fortunate to have been able to book a new space to hold one of our big was refreshing. open exhibitions. ‘The Undercroft’ is a huge space (about 55m long) and is between Twelve months ago I visited John the City Hall and the market, right in the centre of Norwich. It’s a dedicated arts Wheeldon at his studio in Derbyshire. venue and hosts a range of shows throughout the year What I saw and heard then was simply As members will have seen from our mailings, we invited entries in January and we breath taking and members are in for are there from Saturday 8 April to Sunday 23 April every day 10 am to 6 pm (5 pm on another treat when John visits us on 19 Sundays) with the Private View on the evening of Friday 7 April at 6.30 pm. March. He last visited EAPA at the Perse Thank you to all who have signed up to participate and, looking at the images that School, Cambridge, early in 1996: twenty were sent in for publicity, it’s going to be a great event. one years ago. For some years we have wanted to have a show somewhere in our region but away To follow, we are delighted to have as our from our other exhibitions in Cambridge. It turns out to be difficult to find spaces guests on future dates Geoffrey Lee, Jim that are large enough, where we can be for two weeks or more and does not cost the Robison and Niek Hoogland. earth. In addition we need to be in a location that has some serious footfall since over Peter Warren half of our visitors usually walk in off the street. Exhibitions take some time to get established in the public’s mind and so we need extra publicity for this first one to make it a big success. As usual we have over 60 members showing their work, but many for the first time as we are covering a different catchment area. Please DO come along and see us during the run over the weeks either side of Easter and bring a friend, or bring a whole lot of friends for a day out in Norwich, Invitations to the Private View are yours to give out – look at the website under Exhibitions to find the links, or if you missed the mailings ask me for another electronic copy. Please use all your own channels to let others know about it and point them to the Exhibitions Page on the AP website. We will be returning to Emmanuel College in Cambridge in August and we intend to be back to All Saints’ Church in Cambridge for our Christmas Exhibition as usual. See you there at the PV. John Wheeldon Ian Vance Exhibitions Organiser 3 Clay College Stoke Jugs at the Since 2009 we have seen further declines been used as a pottery, it offers suitable Selected Members in education in the UK and the teaching and work space, two electric Ceramic Community is facing a major and a large outdoor gas kiln on crisis. Many ceramics departments have site, also a gallery space with minimal Show at the Dolby closed; remaining courses have a multi- intervention required to set it up for disciplinary approach and production teaching purposes. It is in close proximity Gallery, Oundle techniques are marginalised in favour of to a space we have identified that can concept and design, with few practical be used to build wood and experimental skills being taught. kilns. Building on our successful apprenticeship The advantage of the Middleport Pottery scheme, we feel it is the right time to site is that students would be able to develop our offer to a new generation immerse themselves in a lively ceramics of potters, by developing a second community with both commercial and phase of work with the establishment artisan on their doorstep, whilst of a ceramics college. The timing could through their studies, helping to ensure not be more prescient given the aging that the Middleport Pottery remains of the skilled craft sector – the existing relevant in the future. community of master potters, trained in the ‘golden age’ of Your Support in the '60s and '70s are approaching In order to bring this project to fruition, retirement and their skills will be lost if we need your support to help us to no facility exists for them to pass on their set up Clay College Stoke by making experience to the next generation. the required changes to the building, purchasing the teaching and practical Rob Bibby Clay College Stoke equipment and recruiting our first group The college will offer a skills-based, full- of students. time ceramics course taught by potters Whether you make a donation or pledge who make a living through ceramics, a sum to receive a reward, you are something unique in the UK. We are helping us reach our fundraising target. proposing that from September 2017, a Peter Deans If you want to maximize your pledge, two-year full-time course will be run for please use gift aid, if you are eliglible, and 14 students, with each year consisting of select the pay by card option as this costs three 15-week terms. us less than Paypal. The emphasis will be on core skills and A pledgeof £10 will enable us to the use of materials. Students will be purchase two pot boards towards the 260 taught all aspects of design, throwing, required. glazing, kiln building and firing, alongside traditional hand building and decorating £50 means we can buy a banding wheel techniques. This will be augmented for a student. by modules focusing on business and With a pledge of £100 we can buy a marketing which will offer students the selection of trimming tools. opportunity to become self-sufficient, For £400 we can buy a glaze mixer. developing their own business model to £1,000 will enable us to buy a slab roller. suit their work and sufficiently skilled to join a work force in a production pottery. £5,000 pays for us to modify and set up the Gallery space for students to Alongside the course, we envisage showcase their work. hosting an artist-in-residence and overseas exchange programme, running £10,000 will fund one of the kilns we evening classes, masterclasses, and would like to build with the students. lectures for the public together with a For further details go to: programme of community engagement www.crowdfunder.co.uk/clay-college- to reach young people living in the local stoke. area. Clay College Stoke Team We have found a stand-alone building Editor's note within the Middleport Pottery site which A video clip introduced by Lisa has recently been beautifully restored Hammond MBE can be found on the by The Prince’s Regeneration Trust Anglian Potters Website: and is now owned and managed by the UK Historic Building Preservation www.anglianpotters.org.uk Trust (UKHBPT). As it has previously Susan Cupitt Photographs: Peter Warren Peter Photographs: 4 Annual Selection Meeting AP Clay Stores Our annual selection meeting will take Applicants for selected membership Clay from Valentine, Staffs: an place on the 22 April 2017 at Undercroft must have shown their work before in inexpensive source of clay for in Norwich where our new open at least two of our open exhibitions. We members. Sold in 12.5 kg bags. exhibition will be in progress. also offer informal feedback sessions (see Paper clay can be ordered by To apply, please contact Anja Penger- below) before applying, and previous request, as can any Valentine Onyett (see details under committee applicants have found such sessions to or Scarva clays. Please contact members, inside front cover) as soon be very constructive and helpful. Richard, Nicki or Deborah. as possible. Anja will send you an The make-up of the selection committee application form and a letter explaining varies every year and is composed of not Prices from Autumn 2016 your commitment to Anglian Potters, fewer than five Selected Members. :- as well as the benefits of becoming a Informal feedback session Firing 1150°C – 1280°C Selected Member. Your application has Special Fleck £4.60 to be sent back to her by 31 March 2017. If you are not sure whether to apply for selected membership yet, or you would ES5 Original £10.00 Applications are considered in the like to get input on how to improve White B17C grogged £6.80 following seven categories: Ceramic your work, you may like to consider an ES40 Handbuilding £13.00 Sculpture; Architectural Ceramics; informal feedback session. We would ES50 Crank £8.80 Domestic Production; Ceramic Jewellery; like to offer these to any member who V9G Dark £4.90 Semi-Industrial; One-off (wheel& hand would like to discuss their work, usually built) Pottery; Others (not covered by the :- with at least three selected members. The above). Red (1080°C-1160°C) £3.90 informal feedback sessions usually take White (1060°C-1150°C) £8.70 You will need six pieces of your work. place in conjunction with the Anglian The selected ceramic pieces should Potters demonstration days and by prior :- represent the best of your work, they arrangement. Please book for this session Firing 1220°C – 1280°C should stand well together and they with Anja Penger-Onyett. The next P2 (fires to 1250°C) £9.85 should all be appropriate for the category demonstration day is the 19 March 2017. Royale £13.70 for which you apply. If you would like informal feedback Royale Grogged £14.50 You should also submit your Curriculum about your work on that day please book Audrey Blackman £14.85 Vitae and any supporting material that with Anja before the 12 March. St Neots might enhance your application. We also Anja Penger-Onyett Richard Cranwell need two good photographs of your Cancroft work and six digital images, which we will Kimbolton Road retain if your application is successful. Hail Weston They will be used for the Anglian Potters St Neots PE19 5LA website, the selected members page and t: 01480 404785 hard copy folders which are used to m: 07572 545690 present images to gallery owners when e: [email protected] we are seking new venues. They are also Norfolk shown at Selected Members exhibitions. Nicki Darrell Susan Cupitt 46 Church Road, Cantley Norwich NR13 3SN t: 01493 701525 FREE ENTRY e: [email protected] Adam Marsh Adam Marsh Suffolk Ceramic Exhibition Deborah Baynes Nether Hall, Shotley, Ipswich & Open Studio Ceramic Studio Suffolk IP9 1PW t: 01473 788300 e: [email protected] Phone to confirm availability and COURSES to arrange pickup during office WORKSHOPS hours. Collect with a cheque made payable to Anglian OPENING HOURS POTTERY PARTIES Open Evening Potters with membership Fri 12 May 2017 | 4pm-7pm for all ages and abilities number on the back. Open Weekend Sat 13 May 2017 | 10am-4pm www.adammarsh.co.uk | [email protected] Sun 14 May 2017 | 10am-2pm

VENUE 34 Pembroke Road | Framlingham | SUFFOLK | IP13 9HA

WWW.ADAMMARSH.CO.UK | [email protected] 41 Conway Close | Ipswich | SUFFOLK | IP2 8PS 5 large scale; even his domestic pots have Svend Bayer at Mundford a quality of grandeur, influenced by his admiration for traditional pottery of the Far East. The amazing changes in texture and colour achieved from quite standard glazes placed in different areas of the kiln and influenced by the type wood being burnt were amazing. We were fortunate that he brought many beautiful, rich pots for us to see, feel and, indeed, buy. With the ease of someone who is ‘fully at one’ with his craft, Svend crafted not one, but two large pots, demonstrating a measurable ease in handling 30 pounds of clay in front of a packed audience, despite assuring us that he was very nervous, and that, “Everything I do is an accident.” There appeared no hesitation in what was a very powerful demonstration to a silent room of at least 96 people, glued to that wheel. His quiet approach, sense of humour, firm but gentle handling How fortunate Anglian Potters were East, North America and Australia; we of the clay, coupled with expert hand- on 13 November, not only to have a therefore felt privileged that he had beautiful autumn day, the colours of returned after fifteen years and taken Thetford Forest equal that of New time to share his skills at Mundford. England (and somewhat cheaper), but to Svend has delayed making pots over the be fascinated by the talent, enthusiasm last few months as he has devoted much and sheer skill of Svend Bayer. His of his time to constructing a new kiln, opening remarks to the audience were moving away from his cross-draught, that he had not made a pot for three single-chamber, 800 cu.ft. kiln. We months and we were to expect and were shown the arduous construction indeed witness, a struggle. Michael process and stages of development of Cardew said of Svend Bayer, “He is the new kiln, merely one of many he has more than just a potter; he is a force of designed and constructed throughout nature.” the world. The construction and design The struggle did not materialise, but skills demonstrated merely reinforced the the force of nature was witnessed by sheer vision that he has not only in the all in Mundford village hall; at times making of pots but in the whole process it took one’s breath away. Svend has of understanding his art. exhibited widely in Europe, the Middle His wood-fired stoneware pots are on a on a grand scale, gave those of us who strive to make our pots a little bigger the encouragement to keep trying. Svend reinforced this further by assuring us that the pots on show were merely a small portion of a multitude of mistakes. I leave my mistakes at the end of my drive so that people can help themselves and take them away... and they do. I wondered if Svend ever left any of his mistakes at the end of his garden? It was an education to watch and to listen to someone of such presence and skill present with humility and humour. I would like to take this opportunity in thanking Svend for his time and passion and for thanking Trudy for the expert organisation of the day. Jennie Longbottom

6

Photographs: Nicki Darrell and Linda Luckin

7 thrower under Stephen Course and Peter Jon Faulkner, Salt Glaze Potter Cook. Inspired by an exhibition of Jane Hamlyn’s salt glaze work in Plymouth, a small group from the pottery resurrected and fired an old salt kiln. Jon still has three or four pieces of his work from that first firing. Jon came to Bermuda in 1992 to work at the Island Pottery in the Dockyard and left two years later to set up his own business a few miles down the road in Somerset. When the Island Pottery was on the verge of folding he was approached by WEDCO (West End Development Corporation) to relocate to the Dockyard as they wanted to retain a pottery business there. He has been at his current location for 20 years, initially running his own business there and for the last 10 years renting his workshop and exhibition space and paying commission on sales to Bermuda Clayworks. As of 1 January 2017 he has

When you walk through the main a large British naval fortification and entrance of Bermuda Clayworks, the first prison, that has been developed in recent thing you see is an impressive display years to cater to passengers on the cruise of a Leach-style wooden kick wheel ships that tie up alongside. surmounted by a huge salt fired pot Jon’s ceramic career began at 15 when and surrounded by several large Walter he started work on a YTS scheme at Keeler-inspired jugs. This is just a taster Crich Pottery, Derbyshire, with Diana of the treasures to be found in Jon Worthy. His first job was making plates Faulkner’s gallery, which extends around on a jigger and jolly which was so to the left of the building. To the right tedious that he surreptitiously started are brightly painted platters and house teaching himself to throw. By the time signs produced by other ceramicists he left 18 months later he was throwing who share the workspace and which are for them. From there he moved to perhaps more what you might expect Chatsworth Ceramics making garden to see in the middle of a tourist area. pots, and then on to Dartington Pottery For Jon Faulkner’s pottery, gallery and at Shinner’s Bridge when he was around shop are located in the centre of the 18. There he worked as a full-time Royal Naval Dockyard in Bermuda, once again taken ownership of the whole premises, which will be renamed The Jon Faulkner Gallery, and is currently undertaking a major refurbishment of the inside to create a larger and more modern gallery space. He is hoping to be finished in good time to benefit from the huge influx of visitors expected for the America’s Cup in May and June of this year. After that he has plans to bring in a range of high quality British Studio potters’ work to sell alongside his own work. As so many of us are aware, it is difficult surviving as a potter at the best of times, but in a place like Bermuda, where the cost of living is very high because all your goods and materials have to be expensively imported by air or sea, the prospect is daunting. However, Jon is very resourceful at finding and adapting 8 Most of his work is bisque whatever the weather. fired first but he does The firing cycle takes around sixteen sometimes put green ware hours. He sprays in dry table salt over at the bottom of his kiln. the course of two hours using a hand Pieces are sprayed with held sand blaster gun, modified with a oxides mixed with feldspar 10 inch piece of galvanised metal pipe and china clay. Sometimes at the nozzle and a gravity feed on top a little tenmoku is sprayed for the salt. There are ten small holes over the top. Some of drilled through the kiln above the front the brown colours are and rear fireboxes for getting the salt in. obtained by red and gold Each firing uses 18lbs of salt. He doesn’t art clay mixed 50/50 with bother with test rings, preferring to china clay. His recent work check for orange peel by spraying a little shows experiments with air directly onto the surface of a pot. poured and dribbled slips. However he also uses several pyrometers Jon fires his kiln using and thermocouples to keep track of recycled vegetable oil* the temperature throughout, as well as which he collects from an oxy-probe to check the atmosphere two nearby restaurants and inside the kiln. things to fit his needs. This is essential in filters through an 80 mesh sieve. Free a place that is a bit of a pottery desert. fuel makes a big difference Most of Jon’s work is thrown and to his costs. Each firing uses altered, with the addition of some slabs about 80 gallons of vegetable and extruded shapes. There are clear oil and he fires every three influences from Walter Keeler and weeks or so. Wind direction Jane Hamlyn in his work. Although has to be from the South or the bulk of his output is salt glazed, he East so the fumes blow away also produces a range of electric fired out to sea and not towards porcelain bowls with turquoise and the nearby cruise ships. He greeny-blue glazes for his bread and is currently experimenting butter income, which are popular with with a wet scrubbing system tourists. attached to the chimney to Clays all have to be imported by the clean up the emissions. The pallet load from the USA and UK. salt fumes are passed through From Valentines he gets PF 500 (Peter fine jets of water, condensing Meanley) that works well most of the into dilute hydrochloric time although it can go a little too acid, which is neutralised by dark for his taste in reduction. For his running through a box of conventional salt glaze look the main clay porcelain ‘snowflake’ shapes. he uses is a mix he makes himself from The end products are cleaner Although other people work in Bermuda US porcelain and stoneware clays plus a air and salty water. When it is fully Clayworks, in terms of his practice, Jon little fine silica. operational he hopes to be able to fire is very isolated. Last year he took part in an international show at Gmunden in Austria for the first time since moving to Bermuda. Whilst he undoubtedly gets feedback from visitors and sales, it must nevertheless take considerable energy and self-belief to continue to develop work that feels new, fresh and exciting. It made me realise just how important is the support network provided by Anglian Potters. There is always someone not far away with whom you can exchange ideas, get advice on a problem or feedback on your work. We are very lucky to have this resource and so many generous individuals who put in the time and energy to make it work. * See article on Waste Vegetable Oil Firing in Ceramic Review Issue 144 July/August 2010 Nicki Darrell

9 from Corfe Castle in Dorset was rather Art in Clay, Farnham perturbed by the fact they had only been open ten minutes and already he had been out-bearded! I spent some time chatting to Ian about his lovely work inspired by natural forms; we also put the world of ceramics to rights. Richard Miller seemed to have a constant stream of visitors, partly due I expect to his involvement as the technician for the Great Pottery Throw Down. Richard told me that there is a second series on the way. He fondly remembered his demonstration day at Mundford. Richard and Anna will be taking over organising

Felicity Lloyd- Coombes

I had been to Art in Clay at Hatfield lovely display of his signature copper several times but this was my first visit to red porcelain bowls etc. I am still in awe its sister event at Farnham. We combined of anyone who can coax porcelain into this with a visit to our daughter who lives such graceful forms. Opposite John was about forty minutes away. Anna Whitehouse who has the ability The event takes place in the Farnham to make a flat surface of her work seem Maltings which have been refurbished translucent and three-dimensional. Anna to give a flexible multi-purpose building. does this by careful glaze application. The show was very well attended by the The Maltings are divided up into Art in Clay at Farnham this year. public, other potters and gallery owners. different rooms on different levels which There were many familiar faces as well as The first potter that I came across was create an interesting venue. The Great some new young faces which pleased me. our Lord and Master-ton who had a Hall had a large number of potters, their It’s good to see that the youngsters are work all vying for attention. Ian Harris still able to step onto the ladder as those of us at the other end are just about able Ian Harris to cling on before we sadly topple off. The star of the show, for me, was Felicity Lloyd-Coombes whose animal sculptures were enchanting. I spent some time trying to persuade Felicity to do a day at Mundford for us. However, she is not at ease with talking to large groups. I did assure her that we don’t bite but to no avail. John Masterton has known Felicity for some time and it turns out that she would be happy to do a workshop with a small group of us. Watch this space. To my mind Farnham has the edge on Hatfield as a venue. The only downside was the lack of demonstrations of potters at work. I always feel that it’s important to show the public some of the processes on the way to the finished product. However, I came away from Farnham with many ideas after having interesting conversations with potters who as usual were more than willing to share their knowledge and expertise. I thoroughly recommend visiting if you have not been before. Anton Todd 10 A Response to: The Potter's Journey Thaxted Potters I would like to respond to the Winter facilitating expression and reducing stress Thaxted Potters has now been running 2016 newsletter article by Juliet Gorman, (Sylvia et al 2010). Recent brain research for 9 months and we are becoming well not only on a personal note, but as an has identified that daily creative activity is established as regards facilities but we Anglian Potter member who remains in positively correlated with the volume of need more members. We have a website a state of ‘greenware’ that is, at a stage grey matter in the right Premotor Cortex that introduces us, www.thaxtedpotters. of development that remains very fragile (PMC), associated with the creative skills co.uk and we feel that there may be and must be handled with extreme care. and selection of positive behaviour some Anglian Potters members who are I have been fortunate, over the last three (Zhu et al 2016) i.e. finding those lost budding potters, frustrated potters and years, to have been taught the art of keys; remembering what you went to the even ex-potters in our area who would pottery from a number of experienced shops for. find in us a convivial group with a well Anglian Potters who have assisted me Increased density of the PMC had a equipped studio that, as members, they in finding my form, respecting the significant positive relationship with could enjoy too. properties of clay and experiencing the creative achievement and art scores (Jung Whilst we are a small group and we creation of a successful piece of work. et al 2013). These findings lend support do not wish to crowd the studio, we Over the last year I have been fortunate to the notion that fine training and daily do have vacancies. Our membership to have been taught by Juliet; this is practice may induce changes in brain fees, giving access to our facilities are not an advertisement for her teaching, structures; sleep patterns (Sylvia et al very reasonable and we are situated but an expression of my thanks in not 2010); mental health but above all, to in beautiful countryside with lots of only developing my manual skills but positive social interaction and empathetic parking available. We know there are in developing a sense of ‘creativity;’ behaviour (Kowatari et al 2009). very few such organisations with good the ability to take on board traditional To sum up, those Anglian Potters accessible studios in our area. ideas, rules and patterns and to create teachers not only have highly developed Full contact details are shown on our meaningful new ideas, with originality, creative skills, they are selflessly helping website but to save searching, just email progressiveness, and imagination. Above others to feel better, sleep better and us on [email protected] all, to be able to change these ideas as above all, enjoy each other’s gift of Dick Chaplin the world changes around us, adapting friendship. our techniques and styles to the ever- I would just like to say thank you.... changing world in which we live... being Jennie Longbottom creative is not a hobby ‒ it is a way of TRIPLE VISION life. An exhibition of Raku Part of my professional life was Jung, Rex E., Segall, Judith M., Jeremy Bockholt, H., Flores, Ranee A., Smith, Ceramics by Stephen Murfitt, designated to changing body function mixed-media paintings by and restoring ‘ability’ to those who Shirley M., Chavez, Robert S., & Haier, had neurological impairment or Richard J. (2010). Neuroanatomy of Terry Beard and Lino Prints traumatic injuries; in the trade this is creativity. Human Brain Mapping, 31(3), by Tony Keeler will run from known as ‘brain plasticity’, the ability 398–409. 24 February-17 March at of the brain to develop new pathways Jung, R. E., Mead, B. S., Carrasco, J., & The Wheelhouse Gallery, and neurones in order to overcome a Flores, R. A. (2013). The structure of damaged response. This process takes creative cognition in the human brain. Oakham School, Kilburn many years to bring to fruition (if at all), Frontiers in Human Neuroscience, 7, Road, Oakham LE15 6DT taking patience, constant repetition and 330. tel. 01572 758611. creativity between patient and therapist, Kowatari, Y., Lee, S. H., Yamamura, H., Mon-Fri 10-5 as Scott Adams says, “Creativity is Nagamori, Y., Levy, P., Amane, S., & allowing you to make mistakes.” Yamamoto, M. (2009). Neural networks Sat 9-12.30 & 2-5 Coming to pottery from a science involved in artistic creativity. Human background has been incredibly Brain Mapping, 30(5), 1678–1690. daunting; the shoe is now on the other Silvia, Paul J., & Kimbrel, Nathan foot. It was me that had to slow down, A. (2010). A dimensional analysis go gently, refine my techniques but above of creativity and mental illness: Do all, be honest and do the best I could to anxiety and depression symptoms the best of my ability. This is what I have predict creative cognition, creative learned over the last year. accomplishments, and creative self- What I have also learned is the concepts? Psychology of Aesthetics, generosity, friendship and warmth Creativity, and the Arts, 4(1), 2. offered by those who have these skills and are ready to share their knowledge and creativity. Working with clay has powerful therapeutic properties, improving hand-eye co-ordination, focus, Green Textured Vessel: Stephen Murfitt

11 receptive clay body. This process where Potters Camp Wood Kiln the clay body records the passing flame by changing colour is known as flashing This article is designed to describe the and is one of the attractive effects of firing of the wood kiln at camp last year wood firing. At his recent talk to Anglian and to consider ways in which the special Potters Svend Bayer described how he effects produced by this type of firing particularly liked pieces that showed a big might be enhanced this year. variation in flashing produced from the The kiln, built by members four years different effects of the flame between ago, is a phoenix style down draft kiln the front and the back of a piece. The which is shown during firing. This Anglian Potters kiln produced more

uniformly flashed pots, possibly because of the way they were spaced during packing. It would be good to increase these flashing effects in future firings so here are a few ideas that this year’s campers might like to consider.: 1) Experiment with the type of stoneware clay you use to make your pots. Although the camp leaflet Figure 1 recommends earthstone original (ES 5) reached the pots. as a good all-round clay, in the wood kiln photo shows the chimney wall with its Wood is fed into the kiln through a last year it showed only slight flashing. side swinging stoke hole door on the single stoke hole. There is a little skill However it did well as a base for a shino left side. Pots are packed into the kiln needed to lob in the prepared willow so and wood combination, which by unbricking an opening in the right it lies across the fire box bars, but it only coloured it with a nicely varied effect. hand wall. Figure 1 shows a diagram of takes five mins to get the hang of it and Last year flashing was most apparent on the kiln from the right hand side and it is fun, so if you are at camp, do put crank (ES50) possibly because it contains shows the pathway of the flame from your name down for a turn at stoking. more iron and titanium than most clays. the firebox, which extends from front Once the kiln is warm new wood ignites Most of the pots shown in the photo to back under the ware chamber, as it is immediately and the ash produced are crank. Pots made with Special Fleck drawn through the kiln to the chimney falls into the space at the bottom of showed a variation between dark areas flue. The design was largely inspired by the firebox from where relatively small where they were exposed to the flame Peter Cuthbertson’s own kiln. amounts may be carried up into the and paler areas where surfaces were kiln. In contrast, the previous train kiln protected by other pots. Porcelain pots Last year the kiln was fired for about had side stoking holes directly into the stayed mainly white but sometimes at 12 hours, which is quite a fast firing. It ware chamber, so much more ash landed the top of the kiln picked up a gentle took 3 hours to reach 600°C, the point orange flashing. Shino 2 and 5 applied at which all free water is driven off and smoothly were both used to good effect the ware and kiln are completely dry. The to add colour to porcelain. In addition firing rate was then increased, reaching a clay known as All Purpose Clay gave 1000°C after a further 90 minutes, finally a good, mid orange/brown flashing. reaching approximately 1300°C. It was Most of these clays can be obtained held at this level until the end of firing. locally from the AP clay dumps, Brick Cones observed after firing showed that House Ceramics or Anglia Clay Supplies. heatwork varied a little throughout the If you want to try out other stoneware kiln. All areas reached cone 9 (approx clays, consult the clay dump organisers, 1280°C) comfortably, at the bottom of they may be able to order a bag next the kiln cone 10 started to bend (approx on the pots, often producing rough, time they have a delivery. Consult the 1300°C) and at the top of the kiln cone unattractive effects. manufacturer’s technical information 11 was down (approx 1320°C). It was sheet for the analysis of the various clays estimated that all pots were exposed for As the kiln was unpacked the effects of they sell and the firing temperature. at least 7 hours to sufficient heat to melt the flames could be seen on some pots, the glazes and any ash that may have particularly those that were on the top 2) Consider the effects of using surface shelf and happened to be made of a 12 texture. Allowing the groggier nature of Aldeburgh and less than a mile from a crank body to show as a rough surface Walberswick. Southwold across the River Blythe on the in drying and firing gives the option of elling eekend B1387. producing contrasting rough and smooth S W Thirty-five members, including our surfaces. Smooth surfaces on crank can French neighbour members Isabelle be achieved by polishing or by making 28-31 July de Toyot and Corrine Faccendini will a of the crank and painting it onto be accompanied, this year, by Malcolm Rob Rutterford has been very busy trying greenware. Alternatively you could follow Cudmore who will be operating a to ensure that this year’s Walberswick the example of the earliest potters in painting workshop alongside the potters’ Anglian Potters Selling Weekend will be Europe and Asia (10,000 to 4,000 years stands. ago) by using tools or fingers to create even better than last year’s super event The show is open from 10.00 am marks and patterns on the pot. and a show not to be missed. The show will be held at the Walberswick Village until 4.30 pm on each of the days and 3) Think about the glazes that you might Hall and will extend into the Anglian refreshments are available nearby. want to try out and consider leaving Potters marquee. For further information contact Rob: areas of your pots unglazed. Shinos and 01986 875159 glazes recommended for wood firing Walberswick is an idyllic spot right will be available at camp but you could on the east coast, nine miles north of Editor try making your own. Any clay could be part of your own shino or wood ash / clay glaze. If you don’t know how much Fire and Flux, Norwich a glaze is likely to run during firing, you could either only apply it to the inside of bowls or supply the kiln packing team with a protective “saucer” for each test pot so any runs affect only that pot. I have been working on a series of tests since camp, using a 50/50 mix of ash from a friend’s wood burner and dry samples of all the clays I have to hand. I mix them up with a little water and apply thickly to test pots. I can only fire in an electric kiln at home, but this enables me to pick my favourites to try out in the camp kiln. One of the best so far is an earthenware clay, which is fine as a glaze component but mustn’t be used as the body of the pot: it will melt to a puddle and ruin other people’s work! Many members will know Karen The shop is situated towards the end Finally, a word about note taking. The Kavanagh, a raku potter with driving of St Benedict’s Street, number 86, and 2016 firing contained 200 pots made energy who produces high quality raku for those not familiar with Norwich, by 70 people. Eight clay bodies were work and is a regular on the circuit of only a five minute walk away from the identified, but there were probably Anglian Potters fairs. Members will Undercroft Gallery and within fifty yards more. About 18 glazes and shinos were be less familiar with the name Gwyn of the Barn Road car park. used (see the Anglian Potters account Durand-Grace but Gwyn is a lady who Approaching from the car park, I was on www.glazy.org for the ones I have possesses that same driving energy and unable to identify the street names photos of). Some of these clay and glaze determination. around me and called into the first shop combinations produced remarkable Karen and Gwyn have teamed up to I came across: a supplier of doors and (or lucky) effects. Keeping notes, and form ‘Fire and Flux’, an exciting new fittings, to ascertain exactly where I was. having them to hand, is the only way venture in Norwich’s St. Benedict’s The shop proprietor told me I was in St of answering the question “how did Street. The former computer shop has Benedict’s Street and was able to point to this happen?” and it is how it will be been transformed into a very attractive Fire and Flux almost directly opposite. possible to move from merely firing the gallery with accommodation for a If you are travelling to the Undercroft kiln as recreation to learning from it and workshop to the rear of the premises exhibition, Fire and Flux is an essential building up knowledge from year to year. and cellar space for equipment. The place to visit. Make yourself known to So please keep notes of the clay body workshop caters for people wanting have Gwen and Karen and you will be made you used and which glazes or slips you throwing lessons and, no doubt, a space to feel very welcome. used. Be ready to share them when your to create their own ceramic pieces. beautiful pot emerges from the kiln. Peter Warren On my recent visit, I found work by a Ruth Gillett host of Anglian Potter friends mainly from the Norwich and Norfolk area, together with some handsome pieces by Ruthanne Tudball.

13 Innovations in , Guildhall, Cambridge

Top: Stephen Murfitt Middle: Katharina Klug Bottom: Matthew Blakely

14 Top: Sarah Went Middle: Margaret Gardiner Bottom: Alan Foxley Photographs: Peter Warren

15 16 Members’ Websites:

www.amandabanham.com www.angelamellor.com www.angliaclaysupplies.co.uk www.anniehullceramics.uk www.antontoddceramics.co.uk www.joarnoldceramicsetc.co.uk www.artsculpt.co.uk www.brendagreenart.co.uk www.brickhouseceramics.co.uk www.cathydarcy.com www.ceramicsbuyanja.co.uk www.corbykilns.co.uk www.christinepike.com www.desaphilippi.com www.fionafitzgerald.carbonmade. com www.getfiredup.org www.harveybradley.co.uk www.heathergrahampotter.com www.helenhpottery.co.uk www.helenmartino.co.uk www.iangeorgeceramics.co.uk www.ianvance.net www.jackiewatsonpottery.co.uk www.janehollidge.co.uk www.jeremypeake.co.uk www.jjvincent.com www.johnmasterton.co.uk www.judsonsinfrance.com www.katherinewinfrey.co.uk www.lindaluckinpottery.blogspot. co.uk www.lydiacollings.co.uk SNEYD CERAMICS LIMITED www.madeincley.co.uk Sneyd Mills, www.madelainemurphy.com Leonora Street www.maggygardiner.com Burslem, Stoke on Trent, www.mariamcullumceramics.co.uk UK, ST6 3BZ. www.markjudsonart.blogspot.com TEL: 01782 814167 www.nickysheales.co.uk Email: [email protected] www.ozonelouise.com www.sneydceramics.co.uk www.philarthurpottery.co.uk

www.potterycourses.com www.potterycourses.net MANUFACTURERS & SUPPLIERS TO THE CERAMIC INDUSTRY www.richardbaxter.com GLAZE & UNDERGLAZE STAINS ONGLAZE COLOURS www.robbibbyceramics.co.uk GLAZES ~ FOR ALL APPLICATIONS BRUSH-ON GLAZES PAINTING COLOURS CERAMIC CAFÉ COLOURS www.rockwellpottery.com RAW MATERIALS COLOURING OXIDES www.rowanhumberstone.co.uk PRINTING INKS PRINTING MEDIUMS COLOURED ENGOBES BODY STAINS www.sandylarkman.co.uk BELOW IS A SMALL SELECTION OF OUR PRODUCTS www.sonialewis.co.uk STANDARD COLOURED GLAZES www.spettigue.com www.stephenmurfitt.co.uk

www.susancupitt.co.uk STONEWARE GLAZES www.suffolkstoneware.co.uk www.swaffhampotter.co.uk www.waterloohouseporcelain.com

RAKU & CRAQUELLE GLAZES Contact the Editor if you want to add your site to this list. PLEASE DO NOT HESITATE TO CONTACT US FOR FURTHER INFORMATION

17 Quality as Standard

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18 Pottery Courses run by Members Many members of Anglian Potters needs. Courses for groups of friends or Made in Cley teach pottery in different parts of our family can be arranged as well. Three One-to-one pottery workshops in Cley, region. Below is a list of those who electric wheels and one kick wheel. Norfolk. 11-4 £95 Email have emailed details of their classes. If Firings electric, gas and from time to [email protected] “f.o.a. Rosalind” to you run courses and would like to be time wood. arrange a convenient date. added to this list, email the Editor. For tel: 07885 789102 web: www.madeincley.co.uk full contact details consult your current Helen Dixon Anglian Potters Membership List or Adam Marsh Pottery and sculpture classes now Courses, workshops, pottery parties for see members’ websites for further being organised in a newly established, all ages and abilities. information on courses. This list will also dedicated clay classroom/workshop at www.adammarsh.co.uk be on our website. Alby Craft Centre just outside Aylsham. [email protected] Paula Armstrong tel: 07947 880163 41 Conway Close, Ipswich IP2 8PS Regular handbuilding classes. Monday email: [email protected] John Masterton morning, Thursday morning and evening. Peter Harding Also Saturday workshops in Willingham, One-to-one throwing sessions. Working Basic one-to-one sessions in throwing, Cambs. with porcelain, helping to develop turning and glazing in Botesdale, Suffolk. e: [email protected] throwing skills. Whole days (with lunch) email: [email protected] web: paulaarmstrong ceramics.co.uk or half days. Raku firing workshops, web: suffolkstoneware.co.uk tel: 01954 488020 on demand, when the weather is good! Annie Hull Happy to run some glazing workshops Phil Arthur Throwing and handbuilding 2-hour (making and using high fired glazes). Pottery classes in Cawston Village Hall, workshops in Hinxworth, Herts. tel: 01279 723229 North Norfolk on Tuesday evenings Up to 2 students with flexible course email: [email protected] and Thurs afternoons. tel: 01603 279687 times. email: [email protected] web: johnmasterton.co.uk email: [email protected] web: www.anniehullceramics.uk Sarah Went Deborah Baynes Helen Humphreys Half day throwing workshops in Pottery courses in Shotley, Suffolk. Evening classes in term time at Cambridge on Saturday mornings. Also Residential and non-residential weekends Cottenham Village College (Weds) and Wedesday evenings at Hills Road Sixth (Spring & Autumn) and full weeks (Jul- Hills Road Sixth Form College (Thurs). Form College: 7-9 Aug). Hand building, intensive throwing, Pottery in the Fen class in Waterbeach on e:[email protected] wood firing, raku. Thursday mornings. web: sarahwentceramics.com web: www.potterycourses.net Contact Helen or the colleges for details. Rob Bibby Karen Kavanagh Courses Abroad Pottery classes in Woodnewton, Oundle. Regular pottery classes on Wednesdays Mark Judson Tuesday mornings & evenings. Also one- during term time and one-off workshops Handbuilding techniques. Chenevaux off courses for individuals or groups by in Norwich city centre. Pottery, Nr Poitiers, France. 20-21 April arrangement. tel: 01780 470866 email: [email protected] £250 to include accommodation and full web: www.robbibbyceramics.co.uk web: www.hands-on-clay.vpweb.co.uk board. tel: 0033 549913096 Matthew Blakely Bill Kohler web: www.chenevaux.blogspot.com and Mostly weekends but sometimes weekday All forms of ceramics including www.markjudsonart.blogspot.com class vacancies become available so it throwing, coil slab and scuplture in is worth checking. Thowing; throwing Royston, Herts. porcelain and glaze development. tel: 01763 209159 web: matthewblakley.co.uk Public Liability email: [email protected] Mariam Cullum Sandy Larkman Insurance One-to-one tuition in hand building and Regular courses during term time in throwing. Nr Mildenhall. 07913 351611 If members are taking part Suffolk. Tues, Weds am, Tues eve, and web: www.mariamcullumceramics.co.uk in events wholly organised one-off group classes. by Anglian Potters, they are Susan Cupitt web: www.sandylarkman.co.uk covered by our insurers. Basic one-to-one throwing, turning Sonia Lewis and glazing courses for beginners in Current throwing courses are fully Members taking part in any Cambridge. email: susan.cupitt@gmail. booked. Further courses late May or events, not organised by com June. Email for details of future courses. Anglian Potters will need Peter Cuthbertson The next one day workshop on Firing to arrange their own Public Weekly courses for beginners and Raku Tea Bowls and Tea Ceremony will Liability Insurance. improvers in East Sussex (Nr Lewes) be on 10th April in Prickwillow, near Ely. Harvey Bradley studio. Classes are small (max. four tel: 01353688316 Editor people) and tailored to suit student email: [email protected]

19 A Selection of Events in 2017 Stephen Murfitt at Triple Vision Aberystwyth International until 17th March Ceramics Festival The Wheelhouse, Oakham School, 30 June-2 July Kilburn Road, Oakham LE15 6DT Arts Centre, Aberystwyth. A Fine Line Cambridge Open Studios 11 March-2 April Weekends in July Cambridge Contempoary Art www.camopenstudios.co.uk cambridge gallery.co.uk selected and curated by Katharina Klug Art in Clay 18-20 August London Potters Showcase Hatfield House, Hatfield, Hertfordshire 31 March-26 April Open: 10am-5.30pm Fri, Sat 10am-5pm Selected work of 30 London Potters Sun www.artinclay.co.uk members Potfest in the Park Barbican Library Exhibition Space 28-30 July Level 2, Barbican Centre, Silk Street Hutton-in-the-Forest, Penrith, Cumbria London EC2Y 8DS Open: 10am-5pm Tel: 01768 483820 Harvey Bradley www.potfest.co.uk Anglian Potters Easter Show The Undercroft Gallery, War Memorial, Potfest in the Pens Nowich NR2 1NH 4-6 August 8-23 April. Daily 10.00-6.00 (5.00 on Skirsgill Auction Mart, Penrith, Cumbria Sunday) Katherine Open:Winfrey 10am-5pm Tel: 01768 483820 www.potfest.co.uk Ceramic Art London 31 March-2 April. Walberswick CPA/Ceramic Review. 28-31July Granary Building, Granary Square, Kings Walberswick Village Hall, Suffolk Cross, N1C 4AA Open: 10am-6pm Fri- [email protected] Sat, 10am-5pm Sun www.ceramics.org.uk Anglian Potters’ Camp RHS Hyde Hall 2-6 August Shotley, Suffolk 27-29 May Hyde Hall Gardens, Rettenden, Anglian Potters Summer Show Chelmsford, Essex CM3 8ET 12-27 August Emmanuel College, Cambridge Norfolk & Norwich Open Studios Ickworth Park Wood Sale 27 May- 11 June 7-8 October www.nnopenstudios.org.uk Ickworth House, Bury St Edmunds, Suffolk IP29 5QE www.nationaltrust. Pam Schomberg Suffolk Open Studios org.uk Weekends in June www.suffolkopenstudios.co.uk Oxford Ceramics Festival Jar and wall hanging at Dolby Gallery, 28-29 October Oundle. Potfest Scotland St Edward’s School, Woodstock Road Photographs: Peter Warren 9-11 June Oxford OX2 7NN Open: 10am- Scone Palace, Perth Open: 10am-5pm 6pm Sat, 10am-4.30pm Sun www. www.potfest.co.uk oxfordceramicsfair.co.uk Earth & Fire AP Christmas Show Brick House Crafts operate from 23-25 June 11 November - 10 December a 5,000 sq. ft. premises in Essex. Rufford Abbey Country Park, Ollerton, They are pleased to confirm the Newark, Nottinghamshire NG22 9DF All Saints’ Church, Jesus Lane, Cambridge continuation of their 10% discount Open: 10am-5pm daily Tel: 01623 scheme to members of Anglian 822944 www3.nottinghamshire.gov.uk/ Art in Clay Festival Potters on raw materials, clays (up to enjoying/ culture/arts/earth-and-fire 18-19 November ½t) and hand tools. Lessons available Farnham Maltings, Farnham Open: on an hourly basis together with 10am-5pm Sat, 10am-4.30pm Sun www. City and Guilds Level 2 & 3 courses artinclay.co.uk (100% pass rate to date). Contact Mary Tel: 01376 585655. www brickhouseceramics.co.uk

20 From the Archives The article below was first published by Mark Boyd in the Autumn 2004 edition of the East Anglian Potters Association Newsletter and is reproduced as a reminder of the need to be aware of the dangers inherant in our workshops. The tailpiece is significant Editor How Safe Are You? Heavy Lifting Finally, this article was not put together In a professional workshop, the by an expert on Health and Safety. For When you think of Health and Safety maximum weight any fit man should wisdom direct from the horse’s mouth in the pottery ‒ and you do, don’t you? be expected to lift to knuckle height see: www.hse.gov.uk and especially The ‒ the mind usually turns to thoughts and close to the body is 25kg unless Pottery (Health and Welfare) Special of silica, lead and the dire warnings of they have received proper training. Regulations 1950. inhalation on various glaze products. Lifting higher than that, lower (ie when If you are wondering why there is a These are obviously important and stooped), or with an outstretched arms Health and Safety article in the Anglian if you have staff or students in your will put more strain on the back. For Potters Newsletter, there are two reasons: pottery you should be aware of how the many people, even this is far too much 1) it’s a condition of our public liability; issue affects employment regulations and to expect on a repeated basis. Injuries and 2) it’s good for us. your own insurance. If, however, you sustained during lifting are one of the have absorbed your skills from evening Mark Boyd, Autumn 2004 two most likely hazards that will actually classes or books, you will naturally have stop you making pots. focused on the delights rather than the dangers of working with clay, so here is a Slips and trips AGM Advance quick rundown of the main hazards. Remember that bit about mopping out otice Silica and wet cleaning? Well, the flip side is N the danger of slipping on wet surfaces Clay dust contains silica which lodges Sunday 14 May 2017 at and tripping over the redundant vacuum in the lungs with potentially devastating Mundford Village Hall with a cleaner. In other words, employ tidy consequences in later life. The way to Demonstration by Geoff Lee. workshop practices. reduce the danger is to avoid dust as As usual, the demo at the AGM will much as possible. For example, always Fire, fumes and electrocution be provided by one of our very own mop your pottery out and wipe table Clays and glazes can release various toxic members. This year, our guest will be with a wet rag rather than using brooms fumes during firing, so make sure that Geoff Lee. Geoff is well know for his and dusters; fettle dry pots with damp even electric kilns ae well ventilated, workshops at Potters Camp, where he sponge rather than a scraping tool; and preferably with extractor fans. And, if has taught lots of us about using print hide the vacuum cleaner ‒ it will blow you are used to firing to earthenware with ceramics. Since retiring from full fine silica dust through its filters. temperatures, make sure you have time teaching, he has been developing Ceramic Fibre enough space to dissipate the extra heat an interest in the combination of if you step up to stoneware. Electricity ceramics with drawing and printmaking. Older ceramic fibre is carcinogenic. Its and water don’t mix, but beware of This has been achieved by completing fibres lodge in the lungs and can wreak corrosion of electrical apparatus ‒ the MAs in ceramics at Lincoln University, havoc in later life. The latest generation point of an electric kiln is to fire pots printmaking at Northampton University of ceramic fibres, however, are soluable without flames. Never leave a gas firing and drawing at Norwich University of in body fluids. Unpleasant though this alone. the Arts. Geoff is now developing the may sound, it supposedly makes them results of these courses via PhD research much safer. Events at Lincoln where his focus is on the Lead Do a risk assessment before running transfer of meaning as contexts change, an event such as an open studio or Lead is extremely poisonous even in specifically when domestic ceramics raku party. This is a formalised way of microscopic concentrations. Worse, like are relayed across what were previously assessing the potential likelihood of a silica, in builds up in the body over time, regarded as fixed borders. risk and its severity should accidents eventually causing blindness, liver failure He still teaches workshops, mainly in- happen. These cover all the issues raised and even death. Nasty. Even in soluble service training for teachers and for sixth in this article along with others specific forms, lead is not entirely safe, but form pupils, but also for adults, mainly to the situation ‒ if the public is around you can avoid the worst of the hazard in the area of printmaking techniques, for a kiln opening, have you thought by using it in fritted forms in glaze many of which are suitable for transfer how toddlers might be attracted to hot recipes and not using it for domestic to the ceramic surface. pots on wobbly tables, for example? ware that will come into contact with There is an increasing fear of litigation, AGM papers will be forwarded to food and drink ‒ especially acids such much of which isn’t born out by court members nearer the time of the meeting. as fruits. Combining lead with other statistics, but a good risk assessment, the John Masterton glaze ingredients, especially copper, can availability of a first aid kit and common also affect its solubility, so be careful sense usually outfox the lawyers. when you experiment. Glazes can be professionally tested for their food safety.

21 Top Loaders ECO Front Loaders Energy Saving Range of Kilns

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22 Ceramic Helpline Selected Members to contact: Alan Foxley: handbuilding, reduction firing 01799 522631 Colin Saunders: mould-making, transfers, slipcasting 01376 339145 Deborah Baynes: raku, salt glaze, stoneware, earthenware (reduction & oxidised) 01473 788300 Beryl Hines: general, raku, earthenware 01473 735437 Usch Spettigue: raw glazing/ single firing 01473 787587 Margaret Gardiner: salt / soda firing 01279 654025 Murray Cheesman: Single firing, domestic ware,repetition throwing. 07999 510084 Sonia Lewis: high-fired ware, porcelain 01353 688316 Angela Mellor: bone china paperclay and slipcasting 01353 666675 If you are willing to give advice and be added to this list, please contact the Editor.

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23 Diary Dates John Wheeldon 19 March Mundford 12-27 August AP Easter Exhibition Emmanuel College, Cambridge 8-23 April Undercroft, Norwich AGM with Geoffrey Lee 14 May Mundford RHS Hyde Hall, Rettendon, 27-29 May Walberswick 28-31 July Potters Camp 2-6 August AP Summer Exhibition 12-27 August Emmanuel College, Cambridge Membership Fees Single £30 – half year £17 Joint £50 for two people at the same address – half year £27 Institution £50 for a college or workshop – half year £27 (details on application to the Membership Secretary) Student £10 for full-time ceramics students – proof of status is required Advertising Rates Price: Per issue, 4 issues a year Full page w 18cm x h 26.8cm £60.00 Half page w 18cm x h 13.4cm £30.00 Third page w 18cm x h 8.8cm £20.00 2 column w 11.8cm x h 17.6cm £26.00 2 column w 11.8cm x h 8.8cm £13.00 1 column w 5.7cm x h 17.6cm £13.00 1 column w 5.7cm x h 8.8cm £6.50 Leaflet inserts (400) £40.00 Copy dates: Spring Issue 1 February Summer Issue 1 May Autumn Issue 1 August Winter Issue 1 November Copy: To be supplied as .jpg, .tif, .pdf Advertisements can be designed if text and pictures (minimum 300dpi) are provided. Printed in full colour. Contact: Peter Warren, Editor e: [email protected] t: 01462 621946

deadline for the Summer Newsletter 1 May 2017 for publication by 1 June 2017

24