I’ve posted before about my evolving use of dandelions and how they have featured in so many ranges of my ceramics and homeware, both current and archived. Here I’m going to explore the many ways I’ve used nasturtiums in my work. Their shape, form, colour and vibrancy are an endless source of inspiration and fascination. As with all my botanical design work I begin with observed drawing.
Drawing the flowers from life is my starting point for a whole host of designs across different media: transfer printed bone china ware; hand illustrated wheel thrown porcelain; colourful printed tea towels. You can see how just a handful of drawings can be put into so many different contexts and with such variety of end results.
In contrast to this individually hand thrown, hand illustrated range – where each vessel is similar but unique in the exact placement or combination of flowers, buds and leaves – is my range of transfer printed bone china ware. For this I use a professional ceramic transfer print studio to digitally print my designs for me, which I then apply and fire on to Stoke-on-Trent bone china ware in my studio.
The outcome is so different from the hand thrown ware, and is infinitely quicker to produce which is quite a relief. Popular thought the hand made range is, I don’t produce much of it as it is a very lengthy process with the layered colours and drawing which also makes it quite expensive. I do have a secret admiration for the uniformity of the bone china ware version too! My other major output with the nasturtiums is textile-based: bright, colourful tea towels in three different colourways.
And from the archives here are a couple of shots of my first ever nasturtium designs, produced using the traditional technique of slip decoration with sgraffito (scratching into the clay) to describe the outlines.
As the Crows Fly is very much looking forward to being part of the Make 17 exhibition at Devon Guild of Craftsmen this year, as well as being featured artist on their publicity for the event. Really excited about this. The private view (see below for details) will be on Friday 17th November from 6-8pm so if you are in the area please do come and meet us as it should be a lovely evening. Otherwise the exhibition will be running from Saturday 18th November until Sunday 7th January 2018.
At the beginning of March I packed my bags and hopped on a plane to Scandinavia for the first time. I flew into Copenhagen, looking down on snowy, fragmented islands gradually massing together to form land. It looked flat, and it was cold.
I arrived at Guldagergaard international ceramics research centre, pronounced Gool-ay-ago, by train and bus and foot, welcomed into a mildly chaotic world of 40 hour long wood-firings, unbridled artistic expression, huge amounts of expertise and a fantastic community of learning, sharing, warm people.
A tiny world inhabited only by ceramicists, where you don’t have to explain or excuse yourself. There is just acceptance. It’s a magical place…and there are sculptures and objects from the tiniest porcelain chair model to the most enormous tiled archway, just bursting from every corner of the place. I feel so inspired here.
I came to Guldagergaard because I want to expand my practice to incorporate my own-design slip ware. So, I signed up to do an Intensive Plaster workshop week in March, taught by the wonderful Harriet Caslin, and now I am back to complete a month’s residency for the rest of April, working with the skills I learnt.
I’m currently working very hard on a project to produce my own coffee set – a tall coffee pot, a slender jug and an angular cup. The first stage is scale drawing on paper, the second stage turning a positive form on the lathe, then adding components such as spout or handle or surface detail, the third stage casting a mould – the negative; the final stage pouring slip into the mould to form a porcelain positive to fire and use. Currently I am turning on the lathe, hand carving and adapting using precisely scored and folded acetate areas, to fit my design drawings. It’s a lengthy process, and I’m not sure what the outcome will be… The photos below show plaster being mixed; the coffee pot ‘stock’ on the lathe during the initial stages of turning; the finished coffee pot form waiting to be carved and fitted out; the jug model with grooves carved in and acetate being fitted; the coffee cup form on the lathe, ready to be cut off.
I’m also indulging my long held desire to work with stained porcelain, casting a small kitchen ware range using found objects in a pastel palette, and using marbling on two elegant hand turned designs that I did during the workshop week – a tall beaker vase and a wide, conical serving bowl.
The experiments with colour block brights and layered leopard print effect glazes are coming along too. I’m really excited by this range and once a few firing difficulties have been ironed out I’m going to be making this my primary product I think.
I’d never really tried doing anything with out surface illustration before – that is my area of expertise and what I’ve always loved doing. Having the freedom just to think about shape and colour and the graphicness of the 3D objects themselves is really exciting to me and a bit of a breakthrough in my practice. Refreshing not just to simply see the vessel as a canvas for mark making.
My new porcelain hand thrown wares are building for the market season, as well as winging their way soon into the Platform Gallery in Lancashire for their Northern Star winter exhibition and Found Gallery in Dunbar in time for their winter show.
The Peapod and Dandelion versions of these thrown ceramics have cemented into the two designs I’m happiest with so it’s just going to be a case of trying to get faster at throwing them… Since getting back from sabbatical in July there has been a lot of work in the pipeline, building on the designs I began work on in Spring, and it’s satisfying to see it finally in the outcome stage.
I’ve been inspired for a while to try and create a sulphurous yellow glaze as I am a bit mad for yellow at the moment. I’ve also been working hard at throwing porcelain for my illustrated range – but felt it was time to try something a little different that relies simply on the surface effects and colour of the vessels in relation to the thrown shapes and the qualities of the material.
I completed a small body of work using some new glazes before going on sabbatical earlier this year and felt really pleased with how they came out of the kiln:
I took the pots to Frome artisan market this month, selling out before I’d even had a chance to take any proper product shots! I must admit I was quite surprised at the level of positivity to them. Here are a few shots of them before they went:
I’m really looking forward to getting back into the studio now and developing this range further – I’ve already thrown a new shape of jug to play with. Shown below, they are just now drying out ready for bisque firing. Maybe it will be part of the new Volcanic Yellow range, or maybe an illustrated piece, I will be test-firing a few different ideas:
Arriving back in the studio after a substantial time away in various parts of Asia, I thought I’d post up a little taste of the visual plenty from the trip, starting with of one of my favourite places – Bhaktapur.
This town in Nepal is a mediaeval city with a very strong artisanal tradition and a charming and laidback approach to life. Only an hour from the craziness of Kathmandu, Bhaktapur is full of friendliness and a lively traditional, and very visible, culture. It’s a Newari city and it has it’s own special caste of potters – the Prajapatis. Historically this was a very low caste but it was heartening to meet young potters raising their heads high and proudly continuing their traditional heritage for a new era. By embracing social media, finding out about new techniques and researching new niches in their business they are moving away from occupying a challenging strata of society as the demand for simple bisque-fired, purely functional, single-use pots slowly dwindles. Below is an example of a traditional urn, situated on a street-corner sitting area:
I had the privilege of watching and engaging with a remarkable master potter too. His ‘studio’ is simply an unsheltered area of a backstreet off Potters’ Square, next to some rudimentary storage space for his goods and materials. He works in the traditional style, throwing functional homewares such as rakshi brewing apparatus as well as myriad moneyboxes, as seen below – each of these pots is thrown in less than a minute on his huge momentum wheel, which is simply stirred into action with a wooden staff:
Pots drying in the square – these are for the local market and are functional pots for use in the home:
Here a potter tends to one of the wood-fired kilns, before getting ready for the next firing. In preparation, women file through the square bearing huge bundles of straw to pack around the pots. Beneath is a shot of a kiln ready to fire. How the whole district doesn’t go up in flames I have no idea:
Pots of yoghurt stacked in a traditional curd shop. A buffalo milk delicacy, cooling earthenware bowls are still the preferred vessels to sell in – sadly they are discarded after use:
Below are some more shots of the square. You can see the huge stack of straw ready to be transported to the kiln firing buildings; pots ready for sale; pots drying out in the sun, each maker arranging them in a perfect grid of work; there is even pottery graffiti on a wall as you enter the Potter’s Square:
I would love to spend more time here and feel the whole process from start to finish and speak to more of the traditional artisans still at work.
January and February…the fairs are over, the festivities finished and the earth is hibernating and readying itself for germination. Much the same stage has been reflected here at As the Crow Flies. A really valuable period of reflective thought, sketching ideas, drawing on the ideas touch on in 2015 and pushing them further.
I’ve really enjoyed the chance to process carefully the throwing aims I’ve had, working towards cleaner shapes in porcelain, practising the motions of throwing and enjoying the smooth clean feel of porcelain after working in terracotta for so long. First out of the initial test firing was a Wild Pea serving bowl:
Seeing the initial effects coming out on a few pieces enabled me to refine and progress the ideas…gradually more things came out of the kiln, building the bones of a new range of Dandelion and Wild Pea shapes; some of which are pictured below:
I’m also pleased to have produced more satisfying wine tumblers and the first forays into vase production, but photos of these will have to come later. The final thing I played with was transposing my popular Nasturtium design from terracotta to porcelain – in tea cup form. Looking very Art Deco with it’s conical shape, I particularly like this example:
All in all, I feel ready for this year…although I’ll have to put my anticipation on hold for a little while as I am taking a sabbatical from mid-March to mid-July to walk through Mustang in the Himalayas and then cycle the through the Pamirs in Tajikistan up into Kyrgyzstan. I’m sure the inspiration will be myriad so I look forward to posting when I get back.
Wow, what a year… since my last post which was inexcusably long ago, As the Crow Flies has been very, very busy! New outlets at the Leeds Craft Centre and Design Gallery, 20/21 Gallery in Scunthorpe, Platform in Cleethorpes and Found in Dunbar have kept me very busy with my order books, add to that the crescendo of Christmas market madness over the past month and computer-related work outwith the studio has been at a bare minimum.
I’m looking forward to two final markets in ATCF’s Bristol hometown – first up is this Saturday, 12th December, 10am-5pm, for Christmas at the Orangery. Pleased to see this shot of my doilyware being used as a promotional piece:
A really lovely selection of fine local makers at one of Bristol’s best known Christmas fairs – Christmas at the Orangery is taking place in Henleaze at the Bradbury Hall. Very excited to be taking part for the first time, and to see the Doilyware range featuring in a lot of local publicity:
Hope to see lots of local Bristolites there! Or if you can’t make that one then our final date will be Whiteladies Road Farmers’ Market on Saturday December 19th from 9-2pm. Have a wonderful festive season!