I have a strange relationship with teaching. I never want to do it, my heart sink at the thought, yet once I get there and actually start teaching I really enjoy it!
I have taught a couple of adult education “Introduction to Ceramics” courses recently at Camberwell College of Art and they have been inspirational for me – and hopefully for the students too!
It’s always good to be back at Camberwell – I am a big fan of the place and of John Forde the department head who is one of the most dedicated people I have ever met. It was demonstrating slab building techniques and and watching the work of my students’ develop that so inspired me.
Once upon a time I used to throw (on the wheel) and hand build vessels. With the former the pleasure was in mastering the art of controlling the clay, and successfully making an elegant and well made pot – no easy matter as you’ll know if you’ve ever had a go! With hand building it was about the use of texture and glaze. Glaze – what a wondrous material, so many possibilities and the marvellous thing is that you don’t really quite know what you’re going to get until you open the kiln. Many a person I’m sure has been seduced by the alchemy of ceramics and probably just as many have been put off, frustrated by its unpredictability! Have too set an idea of what you want and you will almost certainly be disappointed. Be open to the possibilities and you just could be rewarded by something that surprises and delights. In ceramics there is always disappointment and frustration but there are also moments of joy and wonder.
I am drawn to two quite different aesthetics: one is 50s style graphics – with line and colour combinations; the other is organic with flowing glazes and rich fusions of colour – particularly blues and greens. Over the last few years the former has dominated and my ceramic jewellery is primarily 2D and pattern lead. Now I feel it’s time to get down and dirty with clay again. Making new work is challenging and exciting, and it is important to go with your creativity and not worry too much about the final outcome. If you make a lot of rubbish on the way to producing something that thrills you then so be it – that is all part of the process. In amongst all the rubbish will be a kernel of something beautiful which can be nurtured and developed. I am at the beginning of that process, unsure, scared but excited too. The longest journey begins with a single step – in my case wedging up clay. . .
Sunday, 19 July 2009
Sunday, 14 June 2009
Bespoke Work
Bespoke Work – Eadwierd Muybridge and others
Because my work involves the use of photographic images it has always had the potential for bespoke work but it is only in the last six months that I have begun to explore this. The impetus came from the British Museum. They saw my work at the trade show Top Drawer and loved the idea of a range of cufflinks based on the architecture of the building and the collection. Many other museums and individuals had expressed interest before but the British Museum wanted to me to design a range of cufflinks in time for Christmas.
I took my camera along to the museum and set about trying to photograph the magnificent roof of the Great Court. I took about 20 images of the roof and then wandered around the Egyptian gallery in search of inspiration. The thing with the British Museum is that it truly is inspiring – visually, anthropologically – and any way you look at it.
The hard work for me (but also perhaps the most fun part) comes afterwards when I start to look at and play with the images on screen. My initial reaction is always that it doesn’t add up to much, won’t work, won’t yield anything worthwhile. I discovered that by staying with it, printing things off, considering things over a day or two and then revisiting the images that gradually things come together. Then I fell in love with my own work – suddenly I’m happy and all is well with the world! Fortunately the people at the British museum also liked what I’d done – and that was the start of what has been to date a very happy relationship. My confidence boosted by this experience, when I was approached by Kingston museums to do some work based around the imagery of Eadwierd Muybridge I didn’t hesitate. I remember coming across a book of images by Eadwierd Muybridge in the library when I was studying at Camberwell – fascinating! Not only visually amazing but so obviously the work of a man obsessed – and how did get so many people to take their clothes for him??
Finally I have also done some work of late for Museums Sheffield. How to capture the essence of a city in a series of tiny images? Sheffield is quite a pleasant place to visit – though I was unlucky with the weather the day I went – but it has a nice feeling about it and I can imagine it is a very nice place to live. I have been through the trauma of working with the photographs I took, I have crossed the raging torrent and reached the calm safety of the other side and am happy with what I have done. I hope very much that Museums Sheffield like it too – the next couple of weeks will reveal all!
So do I hope to do more bespoke work in the future – you bet!! – even though it is always a challenge – will I rise to the occasion – will it work? Still it’s good to challenge yourself – n’est-ce pas?
Because my work involves the use of photographic images it has always had the potential for bespoke work but it is only in the last six months that I have begun to explore this. The impetus came from the British Museum. They saw my work at the trade show Top Drawer and loved the idea of a range of cufflinks based on the architecture of the building and the collection. Many other museums and individuals had expressed interest before but the British Museum wanted to me to design a range of cufflinks in time for Christmas.
I took my camera along to the museum and set about trying to photograph the magnificent roof of the Great Court. I took about 20 images of the roof and then wandered around the Egyptian gallery in search of inspiration. The thing with the British Museum is that it truly is inspiring – visually, anthropologically – and any way you look at it.
The hard work for me (but also perhaps the most fun part) comes afterwards when I start to look at and play with the images on screen. My initial reaction is always that it doesn’t add up to much, won’t work, won’t yield anything worthwhile. I discovered that by staying with it, printing things off, considering things over a day or two and then revisiting the images that gradually things come together. Then I fell in love with my own work – suddenly I’m happy and all is well with the world! Fortunately the people at the British museum also liked what I’d done – and that was the start of what has been to date a very happy relationship. My confidence boosted by this experience, when I was approached by Kingston museums to do some work based around the imagery of Eadwierd Muybridge I didn’t hesitate. I remember coming across a book of images by Eadwierd Muybridge in the library when I was studying at Camberwell – fascinating! Not only visually amazing but so obviously the work of a man obsessed – and how did get so many people to take their clothes for him??
Finally I have also done some work of late for Museums Sheffield. How to capture the essence of a city in a series of tiny images? Sheffield is quite a pleasant place to visit – though I was unlucky with the weather the day I went – but it has a nice feeling about it and I can imagine it is a very nice place to live. I have been through the trauma of working with the photographs I took, I have crossed the raging torrent and reached the calm safety of the other side and am happy with what I have done. I hope very much that Museums Sheffield like it too – the next couple of weeks will reveal all!
So do I hope to do more bespoke work in the future – you bet!! – even though it is always a challenge – will I rise to the occasion – will it work? Still it’s good to challenge yourself – n’est-ce pas?
Sunday, 8 February 2009
Planning a trip to Latin America
In October I plan to go with my husband Ian to Latin America - hopefully for six weeks. I've been looking at the Journey Latin America brochure and I am now beside myself with excitement. The problem is how to fit it all in in the time available. We are drawn towards Equador, Bolivia and Peru; we hope to spend some time in the Equadorian rain forest, trek to Machu Pichu but not on the traditional Inca trail, and hopefully make it Cusco, Quito, Sucre and La Paz. Perhaps this is a tall order and we don't want to feel that we are rushing round like crazy things... so maybe some things will have to be ditched but it is so very very exciting planning it all.
Whatever we end up doing I'm sure it will be the journey of a lifetime....
Whatever we end up doing I'm sure it will be the journey of a lifetime....
Sunday, 1 February 2009
The future of ceramics
Following the demise of Wedgewood there has been much speculation about the future of ceramics and particularly the ceramics industry. I went to a debate at the Design Museum recently on just this topic with Richard Slee, Carol McNickol, Clare Twomey and the head of the Harrow ceramics dept (whose name escapes me). Richard was laconic, drole and slightly depressing as he always is, Clare was intelligent, measured and impressive as she always was, and Carol was just plain wacky! Harrow's head of ceramics was somewhat down in the dumps as it seems her dept is set to close in spite of being recently rebuilt following a devastating fire. Her presentation was more of a plea for help than anything else - and it is a great shame to lose Harrow, I have been to several degree shows there and always found some excellent work on display. Camberwell may of course at some point follow suit. Despite the fact that the reputation of the college was built on ceramics, the department gets smaller every year, teaching hours are reduced, and ceramics students are seen as demanding too many resources (unlike graphics students who require less space, equipment etc. I have always maintained contact with Camberwell, having been a technician there when illness meant they were one down, I have also taught summer courses there - and am currently teaching the basic ceramics course on a Saturday morning. Plus the very lovely Jessica Joslin - currently in her final year has worked as my assistant off and on for the last 18 months. The department head John Forde is incredibly committed to his students in spite of having been fairly shabbily treated over recent years.
So back to the debate at the design museum. There was little consensus on anything and not much cause for optimism. It seems to be a case of individuals ploughing their own furrow with varying degrees of success. My own view is that like the Huguenot silk weavers of the 17th century who initially flourished and then foundered as overseas competition made them uncompetitive, the demise of the Spodes and Wedgewoods of this world was inevitable though still very sad. Many hugely skilled crafts people are now presumably applying to work at Tesco and Aldi but what alternative is there? Some smaller firms will no doubt survive and thanks to innovative design, efficient working practices, and good marketing go from strength to strength but the big firms of yesteryear are destined to go the way of the dinosaurs.
On a slightly more positive note my own business has been enjoying its best start to the year since I set up. A reasonably successful trade show, combined with sales from my e-shop have given me cause to be optimistic about the future. Plus being cited as one of five ceramic makers worth watching in Helen Brown's article in the Guardian "How the Ceramics Industry can avoid Wedgewood's fate" is a bit of a fillip.
So back to the debate at the design museum. There was little consensus on anything and not much cause for optimism. It seems to be a case of individuals ploughing their own furrow with varying degrees of success. My own view is that like the Huguenot silk weavers of the 17th century who initially flourished and then foundered as overseas competition made them uncompetitive, the demise of the Spodes and Wedgewoods of this world was inevitable though still very sad. Many hugely skilled crafts people are now presumably applying to work at Tesco and Aldi but what alternative is there? Some smaller firms will no doubt survive and thanks to innovative design, efficient working practices, and good marketing go from strength to strength but the big firms of yesteryear are destined to go the way of the dinosaurs.
On a slightly more positive note my own business has been enjoying its best start to the year since I set up. A reasonably successful trade show, combined with sales from my e-shop have given me cause to be optimistic about the future. Plus being cited as one of five ceramic makers worth watching in Helen Brown's article in the Guardian "How the Ceramics Industry can avoid Wedgewood's fate" is a bit of a fillip.
Sunday, 25 January 2009
The beginning...
This is my first blog so forgive me if I say all the wrong things, or bore you rigid with my self -indulgent ramblings...
I describe myself as a ceramic designer-maker and my work (primarily ceramic cufflinks and other items of jewellery) combines two of my favourite media – clay and photography. I first started working with clay back in 1975/76 when I did a CSE in pottery and achieved the lofty heights of a grade one. My pottery career then stalled for a while as I went off to university to study the more serious subjects of French and Spanish. My interest in photography began when I was first studying at Leeds. A lovely guy whose name now escapes me, helped me buy a single lens reflex camera ( a Cosina CSM) and showed me how to develop and print my own black and white photographs. I now see parallels between the two processes which thrilled me so much. Both have a period of intense excitement when you are waiting to see what the kiln or chemicals will reveal. Will it be the gorgeous pot you anticipated, the fabulous shot you saw through the lens or will it be mediocrity and disappointment?
Somehow despite the pleasure afforded me by both activities they sank into the background as I pursued a career in media sales and then advertising. I still continued to take photos, and did the odd adult ed class in ceramics but it wasn’t until I neared 40 that I stopped to think about what I really loved doing as I set about reinventing my life.
I owe a debt of gratitude to Michael Czerwinsky, an inspirational tutor on my City and Guilds course, for giving me the courage to apply to Camberwell College of Art and extending my horizons. I had never thought of myself as an artist, and although throughout my time at Camberwell I often doubted myself, it was a wonderful experience and has given me the confidence to embark on the career that I find so satisfying.
You can see my work on my web site at www.awceramics.co.uk and I look forward to any feedback on it. Over the next couple of months I am hoping to develop a new range – although I always feel that it is a Herculean task and wonder if I am up to it!!! I am feeling drawn as I often do to industrial imagery – machinery, mechanisms, cogs and levers, but also to architectural details... we’ll see...
In the meantime I’ll be dancing my socks off at ceroc, doing a little bit of teaching and getting to know my new Bulgarian assistant Silviya who helps me out one day a week.
Hope your life is as much fun...
I describe myself as a ceramic designer-maker and my work (primarily ceramic cufflinks and other items of jewellery) combines two of my favourite media – clay and photography. I first started working with clay back in 1975/76 when I did a CSE in pottery and achieved the lofty heights of a grade one. My pottery career then stalled for a while as I went off to university to study the more serious subjects of French and Spanish. My interest in photography began when I was first studying at Leeds. A lovely guy whose name now escapes me, helped me buy a single lens reflex camera ( a Cosina CSM) and showed me how to develop and print my own black and white photographs. I now see parallels between the two processes which thrilled me so much. Both have a period of intense excitement when you are waiting to see what the kiln or chemicals will reveal. Will it be the gorgeous pot you anticipated, the fabulous shot you saw through the lens or will it be mediocrity and disappointment?
Somehow despite the pleasure afforded me by both activities they sank into the background as I pursued a career in media sales and then advertising. I still continued to take photos, and did the odd adult ed class in ceramics but it wasn’t until I neared 40 that I stopped to think about what I really loved doing as I set about reinventing my life.
I owe a debt of gratitude to Michael Czerwinsky, an inspirational tutor on my City and Guilds course, for giving me the courage to apply to Camberwell College of Art and extending my horizons. I had never thought of myself as an artist, and although throughout my time at Camberwell I often doubted myself, it was a wonderful experience and has given me the confidence to embark on the career that I find so satisfying.
You can see my work on my web site at www.awceramics.co.uk and I look forward to any feedback on it. Over the next couple of months I am hoping to develop a new range – although I always feel that it is a Herculean task and wonder if I am up to it!!! I am feeling drawn as I often do to industrial imagery – machinery, mechanisms, cogs and levers, but also to architectural details... we’ll see...
In the meantime I’ll be dancing my socks off at ceroc, doing a little bit of teaching and getting to know my new Bulgarian assistant Silviya who helps me out one day a week.
Hope your life is as much fun...
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