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NEWSLETTER

IN THIS ISSUE:Ray Scott and the Beginning of EAPABen Brierley and Paul YoungClay with Children

SUMMER2009

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CHAIRMAN'S REPORTRAY SCOTT

It is with great sadness that I reportthe death of Ray Scott. Ray was afounder member of our Association,together with Alan Baxter. I willalways remember his warmth,enthusiasm and helpful advice onthe matter of kilns and materials onmy venture into Raku.

SELECTED MEMBERS

Congratulations to Lola Swain andJeremy Nichols on being elected asSelected Members and we lookforward to their future contributionto Anglian Potters.

DAY EVENTS

The early season day events, BenBrierley and Paul Young, were bothwell attended and most enjoyable.thanks go to Heather and Felicity,together with all who contributed inany way.

DAY EVENT EQUIPMENT

I am pleased to find that my‘column’ is read by some! JJVincent has kindly responded to myappeal and has taken on thestorage of our PA and projectionequipment. No arm twisting needed– thanks, JJ.

ANNUAL GENERAL MEETING

The AGM was very well attended,standing room only for the first timein memory! the committee was re-elected en bloc. the onlycontentious discussion involved theissue of Selected Membership andthe concept of Selection. Followinga lively discussion it was resolvedto invite Selected Members whohad not taken part in exhibitions orthe affairs of the Association forthree years, to state their intentionsor re-apply for Selection.Victor

EDITOR’S NOTESIt seems that in every issue wemourn the passing of an AnglianPotter member: this time weremember one without whom theAssociation would not exist. Onpages 6, 7,8 and 9 formerChairpersons and CommitteeMembers write with their ownpersonal memories of Ray Scott.I was persuaded to join theAssociation by my pottery teacher,Judy Ferrari, soon after it started.From the first, Ray and his wifeDorothy were really welcoming.Dorothy knew everyone, and caredabout each and every member andtheir work. Ray was always readyto offer solutions to problems offiring, and the Raku days at hisworkshop in Newmarket weretremendous fun to a newcomer likeme. (I remember, too, that FrankLogan, who worked at that time forKentucky Fried Chicken, kept us all

Cover: Paul Young’s just-thrownspiral candlestick drying in thespring garden at Mundford in April.(see pages 12-13)Photo: Carolyn Postgate

well supplied at lunch-time!)After Ray and Dorothy retired toEly, Ray took up painting andjoined the Ely Art Society, whichused to exhibit each year in ElyCathedral. It was Dorothy whosuggested to the then EAPAcommittee that it might be possiblefor us, too. Dorothy died in 1996,before our first exhibition in theCathedral in the summer of 1997.Both she and Ray would have beendelighted that we are returningthere this June.Carolyn

ANGLIAN POTTERS OFFICERSPRESIDENT LADY SAINSBURY

CHAIRMANVictor Knibbs8 Nightingale Way, St NeotsHuntingdon PE19 1UQ 01480 214741SECRETARYSusan Cupitt,62 Humberstone RoadCambridge CB4 1JF 01223 311937susan.cupitt@gmail.comTREASURERLiz Chipchase,46 Carlyle RoadCambridge CB4 3DH 01223 527781liz.howes@ntlworld.comEDITORCarolyn Postgate5 Whitwell WayCambridge CB23 7PW 01954 211033carolyn@clara.co.ukMEMBERSHIP SECRETARYMary Wyatt68 Ranelagh RoadFelixstoweSuffolk IP11 7HY 01394 671033mary@24wyatt.freeserve.co.ukPUBLICITY SECRETARYSally MacphersonElm Cottage, 39 Upland RoadThornwoodEssex CM16 6NJ 01992 560807sallymach2@aol.comEXHIBITIONS ORGANISERSCathy D’Arcy89 Friday Street, West RowMildenhall IP28 8PB 07866 391380cathydarcy3@googlemail.com

Helen Humphreys18 Rosemary RoadWaterbeach CB5 9NB 01223 862968helenmh@tiscali.co.ukSELECTED MEMBERS SECRETARYAnja Penger23 Park Lane, BlunhamBedfordshire MK44 3NH 01767 641435anja.penger@gmx.deWEBMASTERIan George117 Histon Road, CottenhamCambridge CB24 8UQ 01954 250647ian.george@anglianpotters.org.ukEVENTS ORGANISERSHeather Graham17 Dereham RoadWattonNorfolk IP25 6ER 01953 882572hgpots@tiscali.co.uk

Felicity Hoyle95 Main Street, HockwoldThetford IP26 4LW 01842 828343flicka.h@tesco.netPOTTERS CAMP ORGANISERJerry FinlaysonMill Farm Barn, Wades LaneShotleyIpswich IP9 1EG 01473 788423

PHOTOS WANTED!If you are exhibiting in AnglianPotters shows this summerand winter, please sendphotos of your work NOW toSally Macpherson, for achance to be included inpublicity posters, private viewinvitations and leafletse: sallymach2@aol.com

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SELECTION MEETING 2009I was nervous. My first selectionmeeting! Not that I put any work infor peer review! Ooh no, I was justorganising it! I think it all went fine:the key to the village hall and allseven members of the selectioncommittee were there in time andthe candidates found their way tothe village hall. Slight technicalglitch: I should have brought mylaptop computer, because moderntimes don’t stop for the AnglianPotters and the images requestedas part of the application come ona CD-ROM. Next time! Anywaywhat I wanted to say is, we havetwo new selected members: LolaSwain and Jeremy Nichols.Congratulations to both of themand well done selection committee!Anja Penger

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Lola Swain

Jeremy Nichols

Lola Swain’s work will be familiar tomembers from recent AnglianPotters’ exhibitions in Cambridge.Her work is hand-built inearthenware clay using traditionalcoil methods.

Jeremy Nichols demonstrated hisprecisely-engineered techniqueslast May at the AGM (seeNewsletter Autumn 2008) and hasexhibited since then with AnglianPotters in Cambridge.

POSTCARD FROM

CROATIAI often send my pots travelling onan adventure and they like it intheir well-padded boxes: this timeto Varazdin in Croatia for theInternational Festival of thePostmodern Ceramics Exhibition:Nature as Adventure.If I had been selected to put a potin the exhibition I should haveheard by the beginning ofNovember and sent it by the end ofthat month. As I had not heardanything two months later, Idecided to put my pot into a galleryinstead. My husband said: “I betyou will get a letter tomorrow”. Ilaughed, but he was right.So I retrieved my pot to send itwithin a week to Croatia by carrier,“Not by post”. This was extremelyexpensive, but by post was morereasonable. I decided not to botherand rang the organiser. The ladysaid: “Use the post. The carrierscause more problems”. I also askedwhy I had not heard before of thedate changes, but then her English

POTTERS IN THE CATHEDRALSelected Members Exhibition in Ely 6-21 June 2009The Selected Members exhibition in Ely Cathedral opens on 6 June with alunchtime reception from 12 noon. The exhibition is open daily from 10am-6pm (Sundays from 12 noon-4pm) until 21 June. Please come, look andsupport the Anglian Potters in the majestic environment of Ely Cathedral.

REMEMBER YOUR

MEMBERSHIP FEEdue at the end of May. Send yourcheque payable to Anglian Pottersto Mary Wyatt, 68 Ranelagh Road,Felixstowe, Suffolk IP11 7HY.Fees for 2009/2010 are the sameas the current year:Individual member £27Joint £45 (two members at thesame address)Institution/corporate £50Student £10 (attending a full timeceramics course, proof ofenrolment required)

CLARE PRIORY FAIRClare Priory hosts a non-profit CraftFair, organised by volunteers, on11-12 July. The potter who usuallywheel-throws pots with childrencan’t make it this year, so if anymember is interested in takingherplace, please contact BernardRushton immediately! There is nocharge for the pitch.Open:10am-6pm on Saturday

11am-5pm on Sundayt: 01708 728974 m: 07767 610200e: bernard.rushton@gmail.comFor further detailswww.clarepriory.org.uk/CraftFair/entrance.phpBernard Rushton

abandoned her; she murmuredsomething about, “Work beingdone... difficulties...”.Anyway, the pot went on thejourney. I also went away butbefore leaving I rang Croatia to seewhether it had arrived. The ladycould not tell: “There are so manypots” she said. After my return Irang again and it had arrivedwhole. It will be there for a coupleof months. Then the wholepantomime will start again, only inreverse.There are times when one is trulygrateful for the Anglia Pottersefficiency!Words and pictures: Ursula Stroh-Rubens

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DEMONSTRATION DAY WITH BEN BRIERLEY

More than 120 people enjoyed aninteresting AP demonstration daywith Ben Brierley in February. Bengave an in-depth insight into thebasis of his inspiration and hismotivations. The slide show startedwith pictures rather than pots:pictures painted by abstractexpressionists, showing wild linesthat represent motion and fluidity.Ben also paints with emulsion paintmixed with oxides usually used inceramic glazes. In his painting hetries to achieve the same qualitiesin terms of motion and surfacecharacter that he wants to achievewith his pots. The connection of thepictures to his ceramic workbecomes apparent when looking atthe shapes and surfaces of hisvessels. More about that later!Ben had early contact withceramics. Together with his mum

he used to buy second-handfunctional ware from theWinchcombe pottery. Thedevelopment of his currentrepertoire started with a ceramicsand design diploma from Mid-Warwickshire College. Thetechniques he learned were initiallyrestricted to hand-building andcoiling of stoneware vessels.Subsequently Ben learned throwingon the wheel ‘the old fashionedway’: throw 50 cylinders of thesame diameter and height from 50balls of clay of the same weight. Atthe end of the day cut all cylindersin half and assess the profile.Repeat this program for three days.Sounds good and solid to me!Having obtained a grant forstudying 3D design (ceramics) Benwent to Wolverhampton University.After obtaining his degree Ben

spent one year as an artist inresidence at Tettenhall College inWolverhampton. Among his dutieswas the teaching of youngstudents. He then went on to obtainan MA at the University of Wales inCardiff. Here he mainly madefunctional porcelain ware. Helearned to appreciate the use of asketchbook in addition to‘sketching’ his pots on the wheel.Currently Ben is working astechnical tutor for 3D Design atLoughborough University.He began throwing upside-downvessels very early in his career andhas never given up this passion, ashe demonstrated. To get theupside-down vessels, the thrownvessel is closed at the top and,after cutting it off the wheel, thebase becomes the top of thevessel. With this technique one canmake bowls, bottle-type pots andjugs as we could see during hispractical demonstration. Bythrowing upside-down pots, themanipulation of the thrown vesselfrom a straight pot into a dancingbottle or jug, (Ben’s ‘signature’pots) is relatively easy at this point.Trapped air stabilises the pots to acertain extent. Applying adetermined ‘kick’ with the handcauses the pot to lean over andimmediately the impression of adancing vessel is achieved. Lookssooo easy! I might try it myself.Having said, that Ben has at least

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10 years’ experience in doingthis!!! I should probablyconcentrate on getting my potsstraight for the time being!Ben started altering his pots earlyon in his career, for example byapplying clamp-marks or thumb-marks to the rim of the vessel.Surface variation is an importantcomponent of his pots and directlylinks with his pictures, or thosepainted by abstract expressionists.To achieve the best basis for theintended surface variation on hispots, he has developed severalclay bodies of his own, for exampleby adding molochite to porcelain.Ben specialises in wood firing. Hefires two anagama style wood firedkilns, one in Loughborough andone at Wysing Arts Centre nearCambridge. He fires 3-4 times ayear, each time with about 400 potsin the kiln. Each firing takes threeto five days in order to achieve theash deposits and melts that he triesto achieve on his pots. Clearlywood firing is a team effort oversuch prolonged periods of time!The heat of the wood fired kiln (upto cone 15!) completes theappearance that Ben wants toachieve. The clay body becomesalmost as soft as it was at thebeginning of its metamorphosis intoa ceramic vessel. ‘Treacle’ is theword Ben used. These effects areclearly visible in the big platterswhich are bent, almost followingthe shape of the kiln-arch, becausethey have been fired standing on theirrim, leaning against the arch wall.Ben uses glazes very sparingly. Ifhe uses glaze he applies a whitecasting slip, blackengobe orcarbon-trap shinoglazes, which canhave stunningeffects from awood firing. Theuse of glaze ismainly restrictedto the inside ofvessels and rimsof mugs to makethem smooth andpleasant for thelips.Thisdemonstrationday clearly

conveyed Ben’s passion for clay,shapes, interesting surfaces andthe experience of wood firedceramics. If you haven’t done soalready, visit his webpage: www.ben-brierley-woodfired-ceramics.co.uk.Words: Anja PengerPictures: Heather Graham, CarolynPostgate

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RAY SCOTT AND THE BEGINNING OF EAPA

Alan Baxter writes:Living here high in the Pyrenees onthe French-Spanish border, I wassurprised when my wife said to me,“It’s for you, it’s Victor Knibbs”.I was very sorry to hear from Victorof the death of Ray Scott, leadingme to ponder about Ray, and thewonderful Dorothy, for the nextseveral days. The contribution theyunitedly volunteered was pivotal toevery formative meeting of theyoung gathering of the then EastAnglian Potters Association. IndeedRay Scott was the primaryinspiration for the forming of thesociety.I had been to Stoke-on-Trent andwas returning along the A14 toIpswich when I deviated toFordham to meet Ray for the firsttime at his small works unit. I hadheard about his experiments withfast heat. He struck me instantly asa fellow north countryman with hisstrong accent and blunt speaking,but generous in conversation aboutSt Helens in Lancashire andfurnaces. All the while a kettle wasboiling away, sitting on the top ofwhat we all now know to be one ofRay’s, Fordham Thermal Systems,fast fire Raku kilns, the smallestbaby one. Ray explained to me thatthis tiny furnace would boil hiskettle many times, making loads oftea before losing its heat. This wasin the early eighties – truly rocketscience at the time. The nextcouple of hours flashed by in chatabout everything ceramic. Ray

wowed me with his new fast firekiln, one thousand degreescentigrade in just four minutes. Myeyes were glued to the pyrometeras it raced, jet propelled, to 1000celsius, I could not believe what Iwas seeing. It was during this firstmeeting with Ray that I complainedat the lack of any potters’ group inthe region other than The SuffolkCrafts Society, which was dilutedwith other Arts and Crafts.Unsympathetically, Ray suggestedthat I stopped grumbling about thisand set about creating anassociation for potters in theregion.For the next week or so I ponderedRay’s challenge, playing withpossible names and geographicrange for a new society. At the timeI was a part-time lecturer at theSuffolk College, while working tobuild up my own pottery workshopjust outside Ipswich, travelling withmy ceramics mostly to WestGermany. The name, though grand,that kept coming to the fore wasEast Anglian Potters Association.This name stuck with littlecompetition and continued to behelpful. The next problem was whoand where to meet. WhileCambridge seemed obvious, it laytoo far to the West, so, using aruler, Thetford presented itself asthe mathematical centre of Anglia.The Riverside Centre was pickedby Patt, my wife, and me as asuitably-sized centre, if enoughinterest could be generated fromthe mounds of envelopes and

invitations strewn across our livingroom carpet.I recall ringing Ray to update himupon the progress I was makingand talking to Dorothy for the firsttime. She assured me that she andRay would arrive early in Thetfordto prepare a reception for myinvited guests. My fingers werecrossed for a good turnout. In notime the evening for the inauguralmeeting was upon me and I hadgiven little thought about what Iwould speak about to an invitedaudience. I gathered a heap ofeverything I could lay my hands onthat was made from clay and fired,including tiles and a brick, thebuilding block of much architecture.I managed to cobble together frommany craft society constitutions adiscussion framework document tostart a debate about a possiblefuture for a potters’ society.I arrived at Thetford not knowing ifanybody had turned up, notknowing if there would be anyinterest. Worrying about this, I washaving difficulty finding a place topark, quickly followed by havingdifficulty getting into the RiversideCentre which was blocked withgroups of chattering peoplebustling their way into the meetingroom, which I had, secretly andfoolishly, feared would be too large.I had not prepared myself for thiscrush of enthusiam. My delight wasconsiderable when I saw Dorothyand Ray warmly welcomingeverybody with a hot drink. All the

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chairs were taken – only floorsquatting space remained. This setthe pattern for the future fantasticsuccess of the now Anglian Potters:always a friendly and inviting group ofpeople that meet regularly to sharethe world’s oldest culture anew.It’s with a heavy heart that I, onbehalf of all Anglian Potters, raise aglass to Ray Scott and hisremarkable wife Dorothy and say‘thank you’ for all theirencouragement, their warmth andmost of all their enduring appetitealways to be there to ensure thesolid future for potters in the regionand wider afield. “Cheers” to themboth, Ray and Dorothy Scott.

Victor Knibbs writes:East Anglian Potters Associationdates to remember:Ceramic Review 79 (January/February 1983) Ray Scott, togetherwith Alan Baxter, put in an advertcalling a meeting to found EastAnglian Potters Association, nowAnglian Potters.Ceramic Review 81 (May/June1983) Forming of Associationannounced. The foundationmeeting was in Thetford on theevening of 11th March 1983. Raywas elected Treasurer and Dorothy,his wife, Membership Secretary.The Sayvit KilnRay Scott was the proprietor ofFordham Thermal Systems andSayvit Kilns. Many members usedhis services and bought kilns andmaterials from him. His knowledgeand skills were highly regarded,and he had a national andinternational reputation. He was apioneer of ceramic fibre in the UK.He co-operated with AndrewHolden in developing andmanufacturing the Sayvit Gas KilnKit used by many members andused every year at Potters’ Camp.He wrote an article in CeramicReview 68 (March/April 1981)entitled ‘Lightweight CeramicFibre’. Ray hosted many Raku daysat his premises at Newmarket.

Deborah Baynes writes:I think my earliest memory of RayScott was at a Craft PottersAssocociation camp in the mid tolate 70s. At that time I had alreadyput in a good few hours of woodfired Raku and was surprised tosee this very calm chap producingRaku pots like rabbits from a hat,from his own design of top-loadinggas kiln. This was made from thenew wonder material, ceramic fibre,which at the time very few pottershad any experience with. Afterchatting away to Ray and his wifeDorothy for some time I was soimpressed with the kiln’sperformance that I bought one. Iremember that their caravan waspacked with these kilns and everysale gave them a bit more livingspace. I was pleased to renew their

acquaintance in 1983 when weformed EAPA.Ray and Alan Baxter organised anad in Ceramic Review inviting allinterested East Anglian basedpotters to a meeting in Thetfordwith a view to forming anAssociation. I think around 70attended and some volunteered toform a committee. Alan becameChairman, Ray was Treasurer andDorothy was already takingMinutes, so an obvious choice forSecretary. I and several others alsojoined the Committee, although Ican’t remember in what capacities.With such a new organisation andvarious projects to get off theground, Committee meetings werelegendary in their length. Wesometimes spent the whole ofSunday at Ray and Dorothy’s

Opposite page, left to right: Victorand Ray (in characteristic pose),at a sawdust firing in 1984; Rayand Frank Logan; Ray and JimMangan. Above: Raku day; Right:Ray’s kiln in action

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Please mention the Anglian Potters Newsletter when replying to this advert.

We are now CHAS accredited and can supply Health & Safety documentation on request.

Joyce Davison writes:I first met Ray Scott in 1984 when Ijoined the Association andsubsequently bought the first of the3 kilns he made for me over theyears. At that time I had littleexperience of running a workshopand even less knowledge of theintricacies of controlling a firing. Iwas very hesitant aboutapproaching all these apparentlyexpert potters with my amateurishquestions and for the most partkept quiet but with Ray there wasnever any need to feel

embarrassed. He guided methrough the purchase of kiln,kiln furniture, cones,suggested firing schedulesetc until I felt quite confidentto undertake the first firing.From those humblebeginnings I grew into aslightly more confident potterbut have never forgotten hisfriendliness and kindness inhelping me to get started.I visited him many times afterthat and was always assuredof a friendly welcome, a cupof tea, a solution to thecurrent problem and, aboveall, a laugh and an account ofhis latest trade fair in Englandor abroad which alwaysseemed to be full of fun. Hewas unfailingly good-humoured, helpful and apleasure to visit.

house, gathered round their diningtable. No matter how heated thediscussion Ray was always thecalm voice of reason and puffedaway resolutely on his pipe.Dorothy kept us supplied with tea,coffee, biscuits and cake endlessly.We were very lucky to have hadsuch a dedicated couple in theAssociation right from the start.Without their influence and hardwork the Anglian Potters might notbe the successful organisation it istoday.

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onRight: Ray with Alan and PattBaxter firing one of Ray’skilns; Opposite page: Red-hotpots at a raku firing day atRay’s Studlands Park workshop

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CERAMIC HELPLINE

Having a bit of bother that your suppliercan’t resolve?

Why not contact one of these memberswho have agreed to share their exper-tise?

Alan Foxley – handbuilding & reductionfiring 01799 522631Colin Saunders – mould-making,slipware, transfers 01379 588278Victor Knibbs – oxidised stoneware,electric kilns, modifying clay bodies

01480 214741Deborah Baynes – raku, stoneware,earthenware (reduction & oxidised),salt glaze 01473 788300Beryl Hines – general, earthenware,raku 01473 735437Usch Spettigue – raw glazing/singlefiring 01473 787587Margaret Gardiner – salt glaze

01279 654025Sonia Lewis – high-fired ware includingporcelain 01353 688316

If you are willing to give advice, and arewilling to be added to this list, pleasecontact the Editor.

MEMBERS' WEBSITES:www.angelamellor.comwww.angelamellorgallery.comwww.broadwayceramics.comwww.cathydarcy.comwww.ceramicsbuyanja.co.ukwww.corbykilns.co.ukwww.chrisrumsey.co.ukwww.heathergrahampotter.comwww.helenhpottery.co.ukwww.helenmartino.co.ukwww.iangeorgeceramics.co.ukwww.janburridge.co.ukwww.janehollidge.co.ukwww.jjvincent.comwww.judsonsinfrance.comwww.madeincley.co.ukwww.maggygardiner.comwww.matthewblakely.co.ukwww.potterycourses.comwww.potterycourses.netwww.rebeccaharvey.comwww.richardbaxter.co.ukwww.sculpturelounge.comwww.secretceramics.co.ukwww.susancupitt.co.uk

Contact the Editor if you want toadd your site to this list.

Check out our website for thelatest news:

www.anglianpotters.org.uk

Alan Foxley writes:My memories of Ray go back to thevery beginning of East AnglianPotters, when I was on thecommittee as Treasurer with himand his wife Dorothy. His interestand enthusiasm both in getting theAnglian Potters Association off theground and his unboundedenthusiasm and interest in his kilnbuilding was considerable. Ienjoyed the many interestingstories and anecdotes he wouldrecall whenever I visited him at hisworkshop.I bought my kiln from Ray in theearly eighties as a kit, one of hisvery early ones (which is still goingstrong) when he was based inFordham. Whilst doing so I asked ifit was possible to make the lid liftup on some sort of hinge as well asbeing able to be lifted off – noproblem, and he eagerly set to andmade the necessary fittings. (Kilnpictured above) Firing three times aweek over many years, the hingedlid reduced the numbers of lidreplacements and proved to be agood investment. Only since doinglarge pieces have I reverted backto the original lift-off lid.He was always very approachablewhen problems arose and wouldspend a considerable amount of histime trying to sorting them out.Nothing seemed to daunt him –probably due to his engineeringbackground. From my point of view,he was sorely missed when heretired.

Harvey and Barbara Bradley write:We remember Dorothy as thewelcoming face of the EAPA,especially to new members and assomeone who pioneered thewonderful meals that are still afeature at AP events. We alsoseem to remember that Dorothywas keen to start our exhibitions atEly Cathedral although she was notpresent by the time the first one gotgoing. Ray sold me my first gas kilnwhich is still very much in use andplayed a supporting role at Rakuevents including an early one at hisworkshop in Fordham and later atthe Southend Arts Festival.

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Ray retired to Ely with his wifeDorothy and died there in March2009. Representing Anglian Pottersat his funeral were Victor Knibbs,Deborah Baynes, Des Clover, JimMangan, Angela Mellor, FrankLogan and Joyce Davison.

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quite a challenge, even with thehelp of two very patient andenthusiastic Teaching Assistantsand occasionally a couple of keen10 year olds from the previousclass as extra helpers. Even so, Ifeel the children have enjoyedusing clay in creative ways andhave learned quite a lot about themedium and the process.My intention is to let them “play”with clay as much as to teach themhow to “make something” with clay.I normally start by challenging theirideas of what ceramic work IS – Ifind that introducing them to thework of contemporary makers,using photos from Ceramic Reviewand Ceramic Monthly always getsthe conversation rolling. I also liketo know they understand the basicsof what clay is, the differencesbetween plastic clay and firedceramics, the basics of what aglaze is, how it can be applied andhow it behaves when heated. TheyALL love to listen to the magicfizzle of a bisque piece that hasjust been immersed in water, andeven the 4 year olds relate well tothe age of clay in terms of dinosaurperiods!I have, with each class, tried tointroduce a variety of techniques,starting from simple pinch pots toslab projects, but attempted to letthem be fairly free to choose whatto do and how, offering help if/when

Having talked to a few AP friendswho also take children’s classes, Ithought it might be useful to sharemy experience and write a fewwords for the magazine…That, anda promise to the children that theywould see their work in print in aREAL magazine!A couple of years ago I volunteeredto teach clay classes at mychildren’s primary school as part oftheir Wednesday afternoonextracurricular activities. Theschool was extremely supportiveand with their backing we involvedthe PTFA which generouslyprovided the funds for the purchaseof a wonderful kiln. The schoolpays for basic stoneware clay theyget cheaply from ESPO and forbrush-on glazes that I order fromScarva. Following the structurealready in place, and because ofspace constraints, I initially tooktwo groups of 6-8 children each,one of KS1 children (4-7 yrs old)and one of KS2 (8-10). Thesessions last an hour each. Thechildren have shown anenthusiasm for clay that I findextremely uplifting, and demand forthe classes has increased, somuch so that we have had to asknot to re-apply in order to give achance to all the children whowould like to have a go. Last termfor the first time I took a larger (19!)group of 4-6 years old children, butmust admit that I found this size

they got stuck or needed help. Thechildren have free use of my toolbox and are encouraged to comeup with a range of their ownimpressing tools. We have foundgood use for quite a few bits ofbroken toys!I have also bought several specificbooks* that I have used forinspiration on the projects andtechniques, but mostly I have triedto link our activities to the topicsthe children follow in theircoursework each term (this is, Ithink, a fairly recently adoptedsystem, whereby all the standardareas – literacy, numeracy, scienceetc – are centred on a specifictopic). With years 1 and 2 we havefor instance done Dinosaurs (youcan see the range of approaches inthe photo below),

animals (in the photo are some fish“sculptures” and duck dishes, butthey also made dragons, owls,butterflies etc).

Not photographed, unfortunately,were some items from the“transportation” series, when thechildren produced somemarvellously imaginative newcarriers and more traditionalaeroplanes and trucks.Occasionally we would concentrateon making things as gifts; forMothers’ Day, for instance, theyounger ones made little flowerypots (some of them are in the photoon the next page), and among the

(MORE THAN) TEN LITTLE INDIANS

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older group there were for instancea coiled cup and saucer, slab potsand slab decorative plaques.What I find very interesting is thenarrative that accompanies themaking, which to me stresses howmanipulating clay is essentially avery creative game…and not onlyfor children!After introducing the basictechniques and given them theopportunity to produce items toproudly take home with them, Ihave involved the children fromeach group in a project for asculptural piece to be installed in atucked-away area of the school’sgarden.Having talked about the history andsignificance of totem poles in theAmerican Indian tradition, we havelooked into the symbolism ofdifferent animals in traditionaltotem poles and the children wereencouraged to choose an imagethat either they felt representedthem or that they felt a particularaffinity with, so that we couldproduce a totem pole for the clayclub. They then made cylindersusing a template for size and 4"pipe sections for formers, and wenton to produce a whole range ofimages (we have a few “monsters”,a monkey, bull, eagles, parrots,butterflies, owls, snow tigers, pigs,horses, a dolphin...). One of theparents has volunteered materialsand labour to install a couple ofposts onto which we will slide andsecure the sections during thesummer fete planned for June. Thechildren have all enjoyed theproject and are very excited at the

Our Clay Club Rules (compiled with input from the children):1. No touching other people’s work without permission2. No eating clay or drinking glazes – no sucking thumbs, poking

noses, rubbing eyes etc3. Always score and slip before trying to attach bits4. Air pockets are #1 enemy in work5. Dust is #1 enemy in the work area6. Never use the same brush for different glazes7. Always sponge bottoms after glazing8. Never criticise other people’s work9. Never be upset if the result is not what you expected!10. HAVE FUN!

* Books I have found useful:♦♦♦♦♦ Clay projects for children – Monica Krumbach - A&C Black♦♦♦♦♦ Exploring clay with children – Chris Utley and Mal Magson - A&C Black♦♦♦♦♦ Clay in the primary school – Peter Clough - A&C Black♦♦♦♦♦ Ceramics for kids – May Ellis – Larks Books♦♦♦♦♦ The Kids ’n Clay Ceramics book – Kevin Nierman, Elaine Arima –

Tricycle Press

prospect of an official unveilingceremony…and I am extremelyproud of them and their work!So, although the effort involved inpreparing and firing goes waybeyond the couple of hours I amactually with the children, I am

finding it an extremely enjoyableexperience. …And who knows,maybe some of these children willbe AP members in a not-so-distantfuture?Words and pictures: RobertaBateman

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Other pictures gave a tantalizingglimpse of Paul’s studio andgallery, which is a disused waitingroom on a Victorian railway stationon the site of the Battle ofBosworth. A body of enthusiastsnow runs steam trains along thetrack and the surrounding touristattractions ensure a steady steamof visitors to Paul’s picturesqueworkplace. This can pose its ownproblems, however and he admitsto resorting to locking the door andpulling down the blinds when thereis detailed slip trailing to be done.Having trained at ChesterfieldCollege, his love of slipware wasborn early when he was taken tosee the collection in the PotteriesMuseum in Stoke on Trent. “Evennow, it makes me want to weepevery time I see it”, he says. Hispassion for the homely warmth ofstyle and the bright colour paletteof these pieces is an inspiration ina period when slipware seems tohave largely fallen out of generalfavour.

Paul Young’s influences areinstantly recognisable. As a makerof decorative and functionalslipware, he takes his inspirationmostly from seventeenth centurypew figures and Staffordshirechimney pieces, with someEuropean folk art and a smatteringof Oriental design thrown in forgood measure. Paul, in fact, has aformidable knowledge of the historyof decorative ceramics and canname-check styles and individualmakers with startling speed and ease.We were first treated to a slideshow of a recent project Paul wasinvolved with to build a wood firedbottle kiln for Clay Art at Denbigh.Described as looking like ‘a crossbetween a mosque and railwayarchitecture’ and being half the sizeof the industrial kilns which oncestudded the Welsh hillsides, itapparently performed beautifullyand a raw firing was achieved inaround nine hours, with pots beingsold straight from the kiln as theywere still cooling down!

For the demonstration Paul firstthrew a candlestick, a flat base,and a bowl shape on the wheel.One surprise was to learn that heuses a 50:50 ratio of whiteearthenware to grogged stonewarefor his pieces, rather thanearthenware alone. He biscuit firesto 1100ºC and glaze fires to 1120ºCfor best results.For his first example, Paul showedus his slip trailing technique on alarge bowl. For the slip he usesterracotta with manganese oxideadded “until it looks right”. It fires toa rich dark brown to black.Considerable care was taken tomake sure the bowl was centred onthe wheel from the start because,as he explained; “You only get one chance withslipware – if you make a mistake,you have to bin it!”With easy, fluid movements, abanded design swiftly took shape,together with a central motif of atree. Paul recommends forwardthinking and planning beforemaking the first mark, so that youhave an image of the completeddesign in your head. The tools heuses to create his decoration areremarkably basic: an ancient sliptrailer covered in gaffer tape, and achopstick for pulling beads of slipinto stylised flower shapes.The main attraction of the day wasto watch Paul build one of hisiconic candlesticks. These areelaborate, stylised ‘trees’, withhandles sprouting leaves and small

PAUL YOUNG AT MUNDFORD

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birds perched in the branches. Ashe built up the various elements wecould see what a time-consumingprocess this is, requiring a verysteady hand and a lot of patience,although Paul says he really enjoysthe assemblage aspect of his work.Again, very few tools areemployed, just the fingers and aclever little implement for roughingthe clay surface prior to theattachment of another piece, whichhe made from a length of dowelwith several pins glued into theend.The handles are placed slightlyoffset to compensate for a degreeof ‘unwinding’ that the candlestick

will undergo in the kiln, and toavoid cracking. Having beenthrown as a solid piece, and withthe additional sprigs anddecoration, each piece requires upto two weeks drying time before itcan be fired.These days Paul uses earthenwareglazes on his decorative pieces,rather than slips, having been“seduced by the colour palette”. Healso notes that the fluidity of glazeoffers him more creative scope andreliable results in an electric firing,which is crucial given the publicdemand for his work. Reluctantly,Paul has left wood firing behind forthe present, as the high lossesfrom each firing were too great arisk to be able to continue with andsome compromise between artisticvision and commercial realities hashad to be achieved.One final thing to note – and onewhich will cheer the hearts ofceramics tutors everywhere – isPaul’s continued emphasis on theimportance of sketching. He haskept up the practice since hisstudent days and still spends atleast an hour a day on the activity.He believes it is fundamentallyimportant to a potter’s developmentand can be a source of inspirationdown the years. However, headvises that, rather like the diariesof a notable politician, you shouldprobably selectively edit out anyembarrassing bits beforesubmitting them as part of yournext retrospective show!Words: Christine PikePictures: Heather Graham, CarolynPostgate, Christine Pike

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SPICED BEAN AND PEPPER PATTIESBy special request, Phyllis Bradford sent in her popularrecipe for vegetarian patties, enjoyed at a recentdemonstration day at Mundford.Ingredients for 30 patties1 410 gram tin of chickpeas1 330 gram tin of broad beans1 red pepper1 teaspoon sesame seeds1 tablespoon breadcrumbs1 tablespoon flaked almonds1 tablespoon tomato puree1 teaspoon olive oil plus more for frying1 tablespoon plain flourFenugreek to tasteGarlic, salt, pepper to tasteGinger or other spices, eg CajunCrushed cumin and coriander seeds or use ready ground, or curry pasteMethod" Deseed and chop the pepper into small cubes and fry until soft." Liquidise or thoroughly mash the drained chickpeas and broad beans.(If you prefer a nuttier texture do not produce a completely smooth paste)." Add the tomato puree and oil, then the seasoning and spices to taste,to the bean paste. Stir thoroughly." Add the sesame seeds, breadcrumbs, almonds and fried pepper to themix, again stirring thoroughly." Form the mix into balls about 3cm (1.25 inches) across. Roll the balls inthe plain flour before flattening them into patties. Fry on both sides in hotolive oil until slightly crisp and brown.

Small PUG MILL and2 KILNS for sale.All in good condition.Will sell separately.Contact Ann Lee for details:e: annlee10@btinternet.comt: 01728 452 486They are in Aldeburgh,Suffolk. Buyer collects.

Phyllis with Daniela Stief

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EARTH MATTERS

New work by Michael Carlo and Ursula Stroh-Rubens, prints by Chrissy Norman and SallyFreerThe Crooked House Gallery 7 High Street,Lavenham CO10 9PRExhibition opened in April and May, andcontinues into JuneOpen daily 10-5 (except Weds)t: 01787 247865www.crookedhousegallery.co.uk

ANGLIAN POTTERS

CLAY STORES

Clay from Valentines,Staffordshire.An inexpensive source of clay formembers.

Phone to confirm availability andto arrange pickup during officehours.

Sold in 12.5 kg bags, with theexception of paper clay.

Special Fleck stoneware£3.70 Firing 1150°C -1300°CRed earthenware£3.25 Firing 1080°C – 1140°CWhite B17C stoneware £5.40P2 Porcelain£7.45 Firing 1220°C – 1250°CRoyale porcelain £10.50Grogged porcelain (Royale)£11.00ES5 Stoneware Original£7.50ES130 White earthenware£6.50Audrey Blackman porcelain£12.00ES40 Handbuilding material£9.75ES50 Crank £7.30ES200 TS Flaxpaper clay£6.00 per 5 Kg bag

V9G Dark stoneware £3.75

CAMBRIDGESusan Van Valkenburg5 Cow LaneRamptonCambridgeCB24 8QG01954 252834

SUFFOLKDeborah BaynesNether Hall, Shotley, IpswichSuffolk IP9 1PW01473 788300

Telephone to arrange a collectiontime, and collect with a chequepayable to Anglian Potterswith cheque card number andmembership number.

NB paper clay may not beavailable.

CAMBRIDGE OPEN STUDIOS

Four weekends in July. Many AP memberstake part. For details see:www.camopenstudios.co.uk/cp.php

MEMBERS' SHOWSRUTLAND OPEN STUDIOS

20-21, 27-28 June and 4-5 JulyTaster exhibition at Victoria Hall, Oakham 8-14 JuneParticipating AP members:Rob Bibby, Woodnewton Pottery – weekends 1 and 2Dawn Isaac, 2 Barrowden Road, Ketton – weekends 1 and 2Katherine Winfrey, Old Butcher’s Shop, Barnack – weekends 2 & 3www.rutlandopenstudios.co.uk

ANTARCTIC IMAGES

Angella Mellor GalleryExhibition 11 July-1 AugustAn exhibition of translucent bone chinaceramics by Angela Mellor, satellite images ofglaciers and sea ice by Peter Fretwell andAndrew Fleming, photographs of ice andicebergs by Steven Roberts, kiln formed glassby Ana Robinson and Marion Hewitt, silver byRebecca Hill.Open: Wed-Sunday 10.30am-5pmwww.angelamellorgallery.com

USCH SPETTIGUE

New Porcelain and Stoneware PotsRectory Cottage, HarksteadIpswich IP9 1DEt: 01473 787587Saturday 1 August–Friday 14 AugustOpen 10–5 daily incl. Sunday

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DIARY DATES 2009:Selected Members:6-21 June, Ely CathedralSummer Show:18-31 August, CambridgePotters Camp:29 July-2 August, ShotleyJennifer Hall:13 September, MundfordIckworth Wood Fair:10-11 October, Ickworth HouseSelected Members:18 Oct-22 Nov, NorwichWendy Lawrence:25 October, MundfordChristmas Show:14 Nov-13 Dec, Cambridge

MEMBERSHIP FEES:Ordinary £27 (half year £15)Joint £45 for two people at thesame address – half year £25Institution £50 for a college orworkshop – half year £27(details on application to theMembership Secretary)Student £10 for full-timestudents of ceramics – proof ofstatus is required

ADVERTISING RATESPrice per issue, 4 issues a yearFull page 18cm x 26.8cm £60.00Half page 18cm x 13.4cm £30.00Third page 18cm x 8.8cm £20.002 column 11.8cm x 17.6cm £26.002 column 11.8cm x 8.8cm £13.001 column 5.7cm x 17.6cm £13.001 column 5.7cm x 8.8cm £6.50Leaflet inserts (300) £30.00

Copy dates:Spring Issue 1 FebruarySummer Issue 1 MayAutumn Issue 1 AugustWinter Issue 1 November

Copy to be supplied as .jpg, .tif, .pdfAdvertisements can be designed if textand pictures (minimum 300dpi) areprovided

Contact Carolyn Postgate, Editore: carolyn@clara.co.ukt: 01954 211033

COPY DATE FOR

AUTUMN NEWSLETTER:1 AUGUST 2009FOR PUBLICATION BY:1 SEPTEMBER 2009

ADVANCE NOTICE!Our demonstrator on September13th will be Jennifer Hall and thebooking form will be in your nextnewsletter. If, however, you wouldlike to book earlier than that pleasecontact Felicity Hoyle on 01842828343 or emailflicka.h@tesco.net. Remember tolet her know if you are willing tooffer food or help with lunch.JENNIFER HALLJennifer studiedat CardiffInstitute ofHigherEducation underthe guidance ofMichaelCasson, PeterStarkey andGeoffrey Swindell. It was whilstdoing her BA Degree at Cardiff thatshe discovered a passion forthrowing functional earthenwarepottery. After graduating in 1994,she worked as a thrower anddecorator for two years at GwiliPottery in Carmarthenshire beforemoving to Buckinghamshire to setup her own pottery in 1997.

Jennifer now produces a widerange of pieces using redearthenware clay decorated with acombination of slips which aredipped, trailed and sgraffitoed.These processes provide a surfacethat displays the richness andfluidity of the honey and green non-toxic lead glazes. The forms of thepots are inspired by their functionand the making process itself.Elements from vessels of clay andmetal both ancient and moderninfluence the shapes of the objects.

POTTERS’ CAMPI’ve been asked to run anotherprintmaking workshop at this year’spotters’ camp and am happy to doso. In addition to the screenprinting as demonstratedpreviously, I’m thinking ofintroducing a couple of othertechniques. Rather than use myimages and screens I thought thatanyone who might be interestedcould send me some images oftheir own which might be the basisfor some work. If you send meimages, preferably about 7 by 5inches, I will make them intotransparencies which could beused to apply images to the claysurface. Send any image, portraits,plants, patterns etc, the morevariety the better. The morecontrast, the sharper the results willbe. This is low tech stuff, a fewchemicals, an image and,hopefully, some sunshine. You cansend by post or by email, bothaddresses are in the members’ list.Any queries on this and do get intouch.Geoff Lee

ANGLIAN POTTERS

SUMMER SOCIALSaturday 1st AugustWades Mill Barn, Wades Lane,Shotley, Suffolk IG9 1EG(Jerry’s place)

This year’s summer social will onceagain take place during potterscamp: an evening of good food, funand live music again. Everyone iswelcome but if you are notattending Potters Camp, try to getto Wades Mill Barn by 7pm as wewill be aiming to eat at about7.30pm – the campers get a bithungry and start mobbing thekitchen if we feed them any later.Please bring a plate, chair andcontribution to the food/drink.Sally Macpherson

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