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EDITOR’S NOTESAt last we have some space in theNewsletter to devote to Potters’ Camp,with accounts written by happy campers,and a great selection of photos to give ataste of what it is all about!Side-by-side with the Christmasexhibition which is in full swing as Iwrite, the new Anglian Potters websitehas been launched. Geetha Alagirisamyhas done a fantastic job of redesigning

REMOVAL OF POTS FROM

EXHIBITIONSYour Committee discussed the issue ofmembers taking work away before theend of Exhibitions. Exhibitors are askedto take work early only followingdiscussion with, and the agreement of,the Exhibitions Organiser.EMAILSMay I remind members of the essentialneed to keep the Membership Secretaryup-to-date with your current and correctemail address. I repeat my advice, given inrecent Newsletters. If you are expectinginfo regarding advertised events, pleasecontact the relevant organizer if you thinkyou have been overlooked.PHOTOGRAPHSOur Publicity Secretary, Sally Macpherson,still reports that she needs you to sendher photos of your current or recentwork. She needs to have a stock ofimages for producing art work for postersand adverts in magazines.SUMMER EXHIBITION, CAMBRIDGEOur exhibition at Emmanuel Collegelooked very good and I heard manycongratulatory comments. Helpers wereplentiful and willing, and I thank all whocontributed in any way. Attendance at thePV was good and sales brisk. Overalltakings were down on previous years, soit would seem that the economicsituation is having an effect.ICKWORTH WOOD SALEAnglian Potters put on a wonderfuldisplay and demonstrations at Ickworthagain this year. The raku area was wellplaced near the public entrance and thisensured an enthusiastic audience. RayAuker enjoyed the wrapt attention of allcomers throughout the weekend. RobRutterford also entertained a constantstream of interested public with hishandbuilding demonstrations. Manythanks are due to Harvey Bradley, Jerry

Finlayson, John Murphy and all whocontributed to the success of the event.JILL HEDGEI was shocked and most sorry to hearthat Jill Hedge and her husband John,had been severely burnt in an accidentwith her new gas kiln. It shows how riskykiln firing can be. I am pleased to hearthat both Jill and John are recovering welland wish them a complete recovery soon.DAY EVENTS AT MUNDFORDThe recent day events, Lisa Hammondand Ostinelli and Priest, were both mostinformative, entertaining, and very wellattended. Well done to all involved.APPLEYARD GALLERY, HOLTThe Selected Members’ show at theAppleyard Gallery looked superb at theopening on Saturday 29 October. Twentymembers' work was well displayed andsales seemed brisk. Visitors wereimpressed and expressed delight at thevariety and quality of work on view.CHRISTMAS EXHIBITION, ALL

SAINTS’ CHURCH, CAMBRIDGE

All is in hand for the Exhibition at AllSaints’; with 70 members showing, itshould be a great success.Seasons’ Greetings to you all.Victor

CHAIRMAN’S REPORT

the website, with capacity to add lotsmore functions to it as time goes on. Atthe moment it is still a work in progress,but the future aim is to allow input frommembers to manage their own pages, aswell has have online discussions, forumsetc. to keep members connected with eachother.Have a look at it, and let us know whatyou think.Carolyn

Cover: Results! Pots from the firingsat Potters' Camp. Photo Chris &Martin George

Page 2 Chairman’s Report; Editor’s Notes; CommitteePage 3 Setting up Open ExhibitionsPage 4 Lisa Hammond: Soda and Shino EventPage 8 Potters’ Camp 2011Page 12 Selected Members’ Exhibition at the Appleyard Gallery, HoltPage 13 Members’ WebsitesPage 14 Anglian Potters at the Ickworth Wood Sale & Craft FairPage 17 Angela Mellor in Milan; Earth & Fire 2012; Potfest 2012Page 18 Events and Members’ Exhibitions; Ceramic HelplinePage 19 Clay StoresPage 20 Equipment For Sale and Wanted; Diary Dates,

Membership Fees, Advertising Rates

ANGLIAN POTTERS NEWSLETTER WINTER 2011

CONTENTS

To newcomers, the setting up of ourexhibitions is a mysterious business. Iremember my first few times, wanderingaround keen to help but not knowingwhat to do. This problem arises chieflybecause we all arrive at different times,and those who live far from the venueand can only get there, say, at 10.00, areprobably unaware that the leaders havebeen there since 8.30 and the procedure isin full swing.I’ve heard that some newcomers areperturbed by what they interpret as adisorderly melée, and are expecting to betold what to do. But things aren’t assimple as that. The Association is run oncollegiate lines, meaning that there is avery minimal hierarchy and we all muck inand help where we see the need.Everyone’s help is welcome, and oftenvital, but if you arrive after things havegot underway there’s no point in askingthe curator of the exhibition what to dobecause by that time the pressure hasbuilt up and you might be barked at. Heor she is just too busy to stop andexplain each time someone new arrives.But don’t despair! We’re going to have aCo-ordinator, who will wear a badge andpoint you in the right direction. The trickthen is to latch on to someone whoseems to know what is happening. Thereis always a hard core of people who arebustling around more importantly than

will have their site. Some curators preferto do this themselves, others delegateto some degree. After this has beendone you can begin to get an idea ofhow the exhibition is going to look.6. A check is made that every participanthas their five pieces out. The curatorgoes through the remaining stock, toseek out any work of genius that mighthave been overlooked.7. Helpers are asked to fill in the gaps byfleshing out an individual’s display. Atthis point, usually by mid-day on thefinal set-up day, the exhibition beginsto look a bit untidy and it is time tosend most helpers home so that thosein charge can move things around tocreate a more cohesive display.

You can see that there’s a lot of pressureinvolved, especially at Emmanuel wherewe only have two days to do it all. Alarge body of people is needed, who justlike you are there entirely voluntarily. Andthere are 50-60 fragile potting egos keenfor a bit of massage. The more I thinkof it the more I wonder that theexhibitions get off the ground at all,dependent as they are on the generosityand goodwill of so many people. Howcan we hope to get it all right?And then, after the exhibition, we take itall down again. We can clear the venue inthree hours. That’s quite something.Do come along and help.*If you’d like to curate an exhibition, orlearn how to do it, please contact theExhibitions Organiser.Susan Cupitt

others and have obviously been helpingout for years.If you are having to make specialarrangements to get in to help, contact theExhibitions Organiser (see page 2)beforehand to ask when your help wouldbe most useful.Here is a brief description of what settingup an exhibition entails:

1. All pots are unpacked and checked inoutside the display area. With 60participants each submitting 25 pieces,that is 1,500 pieces.2. At the same time there is a team ofpeople up at the storage depot loadingall the display boards and otherexhibition equipment into a van.2. On arrival at the venue it is allunloaded, and another team checks thedisplay boards and plinths and repaintsthem where necessary.3. The display boards and tables are setup following a well-worn diagram.Again, this can be heavy work.4. Those with electrical knowledge installthe lighting.5. The curator (the member who hasbeen asked to undertake the delicate jobof creating the artistic balance of thedisplay*) decides which five pieces fromeach participant should be set out first,spreading out the larger and moreambitious potters’ work. This tends todetermine where individual participants

ON SETTING UP OUR OPEN EXHIBITIONS

Some notes for the uninitiatedSu

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LISA HAMMOND: SODA & SHINO EVENT

Someone at Potters’ Camp asked how toreproduce the beautifully coloured runsof glaze that appeared on a piece of LisaHammond’s work. Her visit toMundford demonstrated that suchsubtlety of glazing depends on acomplex combination of clay type,throwing technique, the firing processand long years of experience. Even so,Lisa emphasised that the coming togetherof all these processes happens rarely andshe feels she could spend the rest of herlife trying to produce the perfect tea bowl.Like many other soda firers, Lisa startedout using salt glazing techniques butfiring a kiln in London immediatelyadjacent to a yard full of police carsseemed a bad idea given that the processled to the release of clouds of rust-inducing hydrochloric acid. Soda firingseemed to be a safer, less pollutingalternative so Lisa began to experiment

with methods of introducing soda intothe kiln. She tried various techniques buthas settled on spraying sodasimultaneously into ports at both frontand back of her oil-fired kiln. She doesstill add a bit of salt towards the end ofher firing but, since she has moved toDevon to set up the Kigbeare Studio, thepolice cars of the capital remain unsullied.Lisa is very much influenced by herexperiences of working alongsideJapanese potters both in England and inJapan and her work shows the fluidity,texture and tactility of the Japaneseaesthetic. This is particularly apparent inthe tea bowls she makes but also spillsover into her other work – rough edgesare allowed, asymmetry encouraged andthe feel of a piece is important. Lisa likesto make what she describes as simplework for domestic use: faceted casseroles,coffee pots, mugs and beakers for soda

Above: creating a faceted dish;below: finishing a tea bowl

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firing but she also produces one-offpieces decorated with shino, a thick whiteglaze that can crawl and crack during slowreduction firing to give dramatic effects.The clay Lisa uses for throwing isrelatively coarse and encourages texture;she may use a raku body or acombination of Sven Bayer’s woodfiringclay and Spencroft AWS/1G whitestoneware (which contains sand). Avariety of different tools are used fordecorating. These range from modellingtools to make slashes in freshly thrownclay to a spokeshave for faceting thick-walled drier vessels and from ahammering tool used to pattern andtexture a jug or bottle to a sharpenedsliver of red pine used to carve and shapetea bowls.Lisa demonstrated throwing beakers andmugs off the hump. For the former, thesides were flattened inwards with thethumb and the soft clay marked with awooden tool, the beaker was then thrownfrom the inside to push out the edgesand soften the effect of the tool marks.Mugs were made in a similar way butwere faceted by cutting upwards atintervals and again thrown from theinside to produce a contrast in texturebetween the faceted and unfaceted areas,

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for ‘everyday’ tea the foot ring is deep sothat the cup can be held between fingerand thumb, not cradled in the hand as inthe tea ceremony where the foot isshallower and bowls are differentlyshaped for winter and summer use. Theouter surface of a thrown, thick-walledbowl is carved with a sliver of bambooor red pine to give a shape that fitscomfortably in the hand, is pleasing tothe eye and with enough texture to givethe possibility of beautiful glaze effects.Bowls that meet the approval of a teamaster can exchange hands for more than£1500 but very few achieve this.To demonstrate the use of tea bowls Lisawhisked up some green tea and presentedthis in ceremonial manner to somevolunteers in the audience. Although thehall at Mundford is rather lacking in thebeauty and calm of a Japanese tea room –no gongs, flower arrangements orcalligraphy – the handing of the bowlback and forth, with its most pleasingface towards the recipient, gave us aflavour of the event and some sense ofthe importance of ceramics in Japaneseculture. This makes even more saddeningthe pictures Lisa showed us of the effectsof the recent earthquake on the potteriesat Mashiko. The damage and destruction

an effect that is enhanced during sodafiring.In contrast to the fluid lines of herbeakers and mugs Lisa’s squared or ovalbottles, which are faceted when the clayhas dried and stiffened to some extent,have an almost sculptural appearance. Tomake one of these bottles Lisa threw aheavy-based cylinder some 12 inches high,dried this with a blowtorch and cut itfrom its base. The pad of clay left on thewheel was extended and compressed andthe cylinder recentred and reattached to it.For square bottles the sides are pushedinwards to form a tall truncated pyramid,while for multifaceted forms the cylinderis formed into an oval. The basal pad istrimmed to fit and the bottle shapecompleted by attaching a flattened coil ofclay to the inner edge of the upper rim toform the shoulders of the bottle. This isthen thrown up to form a low neck. Theangular shape of the bottle is enhancedby beating with a wooden paddle andthen faceted with a spokeshave usingrepeated downward strokes.Lisa finished her demonstration byshowing us how she makes tea bowlsand giving us some insight into theJapanese Tea Ceremony. The shape of thebowl is dependent on its intended use,

Creating a faceted bottle

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Kilns for ceramics

New and second-hand equipment

Kilns and furnaces serviced and repaired

Potters wheels – pugmills

Essex Kilns LtdTel 01621 869342

email contact@essexkilns.co.ukwww.essexkilns.co.uk

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of so many kilns and the devastatingeffect of this on the lives of thecommunity can barely be imagined. AMashiko Earthquake Appeal has been setup and details of this can be found onLisa’s website : www.lisahammond-pottery.co.uk.Liz Chipchase

Clockwise from top:a shino-glazedvase; small teabowl; Japanesegreen tea and tea-making equipment;favourite bambooand redwood tools,including thespokeshave;throwing facetedmugs and beakersoff the hump.

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Potters’ camp seems so long ago, in factin about a week’s time we will be startingthe ball rolling for next year’s camp withour annual ‘Camp Committee’ meeting.Immediately after camp I thought, ratherthan subject you all to my thoughts andmemories of camp again, I would askeveryone who was there if they wouldwrite a short paragraph about what theyliked best about camp; their favouriteexperience or the funniest thing thathappened or their best pot or anythingthey thought might be of interest toother Anglian Potters. I got lots ofresponses and here they are:-I have been a member of Anglian Pottersfor only a few months and this was myfirst Potters’ camp. I was warmlywelcomed by everyone at camp. I knew afew people already but made new friendsand contacts as well.I’ve never eaten so much pizza as I didon pizza night, and on Saturday night Ieven got up and danced. I use the word‘dance’ loosely as anybody who saw mewill confirm. This was after a half a bottleof wine, I might add!Everyone I spoke to was keen to sharetheir knowledge of ceramics and thedifferent firing kilns were fascinating. Ienjoyed the wood firing and got some ofmy best results from it. I’m glad aboutthis because I spent nearly a whole daychopping wood, but enjoyed being auseful part of the camp where everybodyputs so much work into making it asuccess Thanks for a brilliant time.Michael WickwarThis was my first Potters’ Camp and I had awonderful time. Everything was so wellorganised; clearly a lot of thought had goneinto all the details. I enjoyed the wholeexperience, the social side – meeting so manynew people – and the pottery side with all thedifferent firings and workshops. The level ofknowledge and expertise in different areas ofceramics was really impressive and at the sametime all the activities were very relaxed and goodfun. For me it was particularly nice that I couldbring my two kids. They had a great time andalready asked if they can come again next year.Perhaps it was beginner’s luck but I got severalreally good pots out of the different kilns.What I appreciated most, however, was theoverall sense of inclusiveness, sharing andparticipation which is so enjoyable and very rarethese days.Desa

POTTERS’ CAMP 2011

Camp life – clockwise from top: movingin the piano; Kit with his pots; Sophieafter throwing her first pot; Victorcleaning raku; Liz, pizza queen;Sharon, piano player extraordinaire

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large jug made by Mark Griffiths whichwas fired on scallop shells and came outwell. Jeremy has tamed the salt kiln andalmost every pot fired in this kiln cameout as expected. Raku firing was bettermanaged with an instruction afternoonfor beginners and then slots for the moreexperienced. This meant Martin had timeto be the model for the sculpture lessonsrather than being trapped in the raku areafor the whole of camp.We had some great entertainment startingwith a romp to the pub for a pint onTuesday for the early working party.Returning in the dark was a challengewith a rather large hole containing awasp’s nest to avoid on the way home.Wednesday saw us all relaxing, after a dayof frantic glazing, eating in groups withnew and old friends. We ended with asingsong around the piano with Sharon.Thursday was fish-and-chip night forsome after packing the kilns. Friday wasthe group Pizza night where we enjoyedPeter’s efforts, aided by his kitchen team.This ended with us all grouped round abonfire with more singing and, yes, thepiano did make it up the field.Saturday Evening is the big social eventwith a shared buffet meal and live musicafter all the kilns have been turned off.Unfortunately I had to miss this for thefirst time ever as my Goddaughter gotmarried that day and I was at thewedding. Judging by the glass recyclingand the rather pale faces I can presume agood time was had by all. I returned tohelp clear up and see the kilns unpackedand have a light lunch before goinghome.As ever it is one of my favourite weeksof the year, an experience that is hard todescribe to anyone who has never been. Itis in the perfect setting with the best hostand the most fantastic company and youget to make and fire pots as well. See younext year.Liz Lewis

This was my first camp and, as I didn’tknow anyone from Anglian Potters andhadn’t camped for more than 30 years, Ileft home for the camp with degrees ofanxiety. The situation was not helpedwhen my car broke down as I nearedChelmsford. I phoned the camp to letthem know what had happened; Jerrypicked up the phone and, without itbeing suggested, arranged for someoneto pick me up and take me to the camp.This set the tone to the camp which wasone of great friendship and generosity ofspirit offered by fellow campers. My wishis to say thank you for this.Peter ChamberlainI had a great time at camp and have taken afull week to recover from the fatigue. Theworkshops were excellent and everything waswell organized without it becoming a ‘bootcamp’. I never seem to sign up to the workshopsI am interested in BEFORE I sign up to otherevents...there is always some overlap and conflictof interest. I found myself running back andforth between the slip decorating and my timedslot in raku, and as a consequence myexperiments at home with washing up liquidand slip look nothing like Ray and Colin’s!But the thing I value most from the wholeexperience is everyone’s friendship and patience.It was very easy to slip back into friendshipswith people I hadn’t seen for a year (sometimeslonger). I learned a lot from talking to otherpotters and exchanging ideas. Anglian Pottersare quite simply a lovely, friendly group ofindividuals and I wish more people were likethem.Estellep.s. the 3 man tent was rubbish...they never didmaterialise!I have been to every Potters’ CampAnglian Potters have held so far. Thisyear was exceptional for the fact that allthe work was shared between themembers. As far as I know no-one, noteven Jerry, had to answer questions 24/7which did happen in the old days. Wehad a very comprehensive programmewhere it was impossible to do everythingbut there was plenty to choose from. Thenew shower block was a success andthanks go to all those who helped in theconstruction, decoration andmaintenance.Camp is primarily a place to experimentwith different firings that are not possiblein most domestic or school facilities.Over the years we have had good and badresults from all of the kilns. This year thewood kiln, under threat of remodeling,had some good results. I personally had a

Modelling with Ray Auker: MartinGeorge was the model. Susan Holmesfinished her head with a Mohican!

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All that chatting as you meet others in thekitchen all the magnificent pizza in realwood-fired pizza ovens, all that joining in withpeople to talk to; do we need all that stuffreally?• The Saturday Social – let’s drop that andwatch a big screen telly. JJ has just too muchtalent and all that enjoyment and oldfashioned atmosphere may not be good for us.Getting up and dancing is probably dangerousfor the health of some of the youngerpotters. Eating, drinking, laughing, makingnew friends, not sure there is any place for allthat.• Could have raised a lot of other issues butmay have done enough damage already. Lovedevery minute and all the changes were gildingthe lily.

Susan HolmesI loved camp this year. I always do. Ithink it’s the goodwill and enthusiasmand hard work and kindness of so manydedicated potters that make it such aspecial place. Favourites? Stoking thewood kiln in the early hours and pizzanight singsong! And – oh thoseingenious new loos....Sue KnightMany thanks to you and all the othermembers who included me in SummerCamp activities despite my Parkinson’sand gave me their kind support whennecessary. I was moved that you inparticular found the time to organise mystay in the large static caravan which Ifound to be much more comfortable thanusing a tent. The occasion was a highlightin my pottery year.DaveSally, not easy to write just a paragraph...What I like about Camp is that everyone is solovely and friendly and talented, and you can getlots of tips and inspiration from other people’swork... plus learn loads of different techniques!This year I particularly enjoyed making mybutterfly dish mould with the lovely Colin andof course working with glass for the first time.That was REALLY exciting, so thank youagain to both Colin and Eileen! Also very goodthe evening dinners, complete with camp firesand “piano on the green”! But best pot?... Ithink it’s the one I will make for next year’sCamp! Love from Italy.RobiGood camp this year, I had to limp offwounded as my torn knee cartilage wasvery painful; my doctor says it doesn’t likethe damp! On the Friday evening I wastelling Michelle about the year theybrought the piano out on a tractor andshe didn’t believe me, then 30 minutes

What a question!! Best moments? Seeingeveryone again, lovely copper pots. Thank youMartin once again. Making pizza with Pete:how can one person do so much for so many, onhis bike?!!! Wonderful JJ and his music. I couldgo on and on, oh mustn’t forget Eileen and theglass fusing, that was magic, and my beautifultea bowls that Marie made me. It was allamazing, can’t wait for next year, thank youto all the people who worked so hard to make ithappen.Hazel MurrayI would like to thank everyone formaking potters' camp such a greatexperience in every way! I have left yetagain with a studio load of inspirationand knowledge and am looking forwardto trying the techniques taught at thecamp! I don’t know how Jerry puts upwith us all descending onto his propertybut I appreciate his hospitality no end!There are no words to describe thePotters' camp experience as it is so uniqueand I am eternally grateful to be part ofit!Kate FisherAll I can only say is, “Wow” to how good ourcamp was again this year. A few points though:• If you keep improving so much does itmean that it will get so professional that dullpeople might start arriving?• Sharon McGeady is just too good at thatpiano (music and everything in general): is itfair that one person has all that talent?Could we perhaps tax it or make her wearother peoples glasses so she had a kind ofhandicap, like in golf ??• Ray Auker – clever, skilled, experienced,patient with muppets like us, works non-stopall camp, still smiling at imbecile comments(not from Sanya and me, of course, as weknow lots of proper potting terms).• Jerry our Host – well, come on, nobodycan be that gracious. Putting up with us lotrunning all over his home, chaos to hisnormal routine, we’ve reduced the value of theneighbourhood by thousands and still he iskind and helpful. Doesn’t seem right that wehave to examine our own values and say wouldwe let 60 crazy potters invade our homes? Justnot fair on us, is it?• The location – can’t we find somewherereally rubbish that won’t make us desperate tocome back year after year? The views, thewildlife, the getting away from it all? Do weneed all that? Do we deserve it (actually somereally, really do)?• The food – just too much and far toogood. All that lovely atmosphere ofcontributing and sharing, so hard to find inthe world today. Do we need all that really?

Above: decorating with slip andcoloured clay; below: the soda kiln;right: decorating with slips andcolours on a vertical banding-wheel

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later, there it was under the walnut tree!Pat SouthwoodWonderful camp again this year, it seems to getbetter and better! Great atmosphere, always sofriendly and so great to see friends again. Thenew showers were brilliant ..... and a hairdryer!!!How much more luxury can we cope with? Solook forward to next year!Marie ThompsonThank you so much for all the hard workyou put in behind the scenes to makeCamp run so smoothly. Hope youmanaged to relax and enjoy some of it aswell!Nicki DarrellI have no photos (daughter lost my camera) andno specific memories apart from one soggyjumper, well sweated upon by a small lady whilestoking the wood kiln.... (better not to repeatthat one as you wore it afterwards - it was sofunny!). There was an enduring sense ofcommunity and caring, mostly by you lookingafter and seeing that everybody was all right. Itwas great. Thank you Sally. I know it’s teamwork and that lots of people work very hardand that Jerry’s inclusiveness and generosity isessential, but you set the agenda for thatatmosphere that pervades the camp which is stillapparent after a couple of years non-attendance. I did enjoy it and the potting whichspurred me into returning to the studio. I needto make lots more.SuenaSo there you have it, a good time was hadby all. So onto next year; as I said at thebeginning we are starting to plan alreadyso if anyone has any interesting ideas fora workshop or demonstration or has aparticular skill or technique they wouldlike to show everyone, then get in touch.Sally Macpherson

Above: glass fusion and chopping wood; below: pots from the Roman kiln

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Opening DayThe Selected Members’ exhibition at theAppleyard Gallery in Holt was to mymind a curatorial triumph. To place all 20very different potters’ tableaus socomfortably and harmoniously amongstthe pre-existing paintings, prints andfurniture within the gallery space was a realfeat of organization and creativity. Thework sat so well that the overall effect wasone of warm intimacy and it was not adifficult task for me to imagine the variouspieces on display sitting happily within adomestic environment. Other viewers atthe opening obviously felt the same as thered dots soon started to appear.There were too many potters taking partto mention or photograph all theirindividual contributions, but my lastingimpression from the exhibition is one ofa collective strength of craftsman/womanship.After leaving the Gallery, I took a strollaround the town. Holt is packed to therafters with small independent shops,cafes and galleries – all very tempting.Although Norfolk is a long way for mostAP members to travel, I think there is avery strong interest in the arts and craftsout towards the coastal areas and it will be interesting to seehow sales proceed over the next two weeks of theexhibition.Several thousands of calories later, I left Holt and drovehome via Titchwell RSPB reserve and was lucky enough tosee a family of marsh harriers enjoying the lovely warmautumn updrafts. Not a bad day, all in all.Many thanks to Susannah and David Thompson for all theirhelp and expertise and for welcoming the Anglian Pottersinto their Gallery. Also a big thank you to Anja fororganizing it all.Words & pictures: Lorraine Izon

SELECTED MEMBERS’ EXHIBITION AT THE APPLEYARD GALLERY

Small packages:dormouse byRosemarie Cooke

Domestic bliss

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MEMBERS’WEBSITES:www.angelamellor.comwww.brendagreenart.co.ukwww.broadwayceramics.comwww.cathydarcy.comwww.ceramicsbuyanja.co.ukwww.corbykilns.co.ukwww.chrisrumsey.co.ukwww.davidwilliamsampson.comwww.heathergrahampotter.comwww.helenhpottery.co.ukwww.helenmartino.co.ukwww.iangeorgeceramics.co.ukwww.ingridhunter.comwww.janburridge.co.ukwww.janehollidge.co.ukwww.jjvincent.comwww.johnmasterton.co.ukwww.judsonsinfrance.comwww.katharina.klug-art.comwww.lolaswainpottery.comwww.madeincley.co.ukwww.maggygardiner.comwww.mariamcullumceramics.co.ukwww.matthewblakely.co.ukwww.obypottery.co.ukwww.patsouthwood.co.ukwww.potterycourses.comwww.potterycourses.netwww.richardbaxter.co.ukwww.robbibbyceramics.co.ukwww.roceramics.co.ukwww.rockwellpottery.comwww.rowanhumberstone.co.ukwww.sculpturelounge.comwww.secretceramics.co.ukwww.stephenmurfitt.co.ukwww.susancupitt.co.ukwww.suffolkstoneware.co.uk

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

www.anglianpotters.org.uk

Beautiful and useful:Colin Saunders &John Masterton

The glittering prizes: Ray Auker & Rob Bibby

Perfect harmony: Usch Spettigue, Victor Knibbs, Stephen Murfitt

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Why are potters at a wood fair?Well… someone has got to usethe wood chippings and sawdust;and raku people know what todo with them.Our involvement goes back a fewyears to when Ian Georgearranged for Anglian Potters totake part in a very ‘laid back’traditional wood sale on theIckworth estate. The nature ofthis has now evolved into moreof a craft country fair – but wejust enjoy being there.What do Anglian Potters get out ofit?As always, you get out of thingswhat you put into them – and alot of people put a lot intoIckworth. Pyromaniacs cater verywell for themselves with fourraku kilns and numerousreduction bins being brought.There is a growing rapport withthe crowds and many people arebeing initiated into the ‘mysteries’of the raku processes. Inside ourmarquee we had 17 tables withover 26 potters displaying theirwork and many demonstrating.Certainly on Sunday we had a goodfootfall. Outside we had a continuousthrowing demonstration and hands-onmodelling for the children.What about next year?Feedback comments to me this yearincluded “such an enjoyable event”,“potters are very kind, and alwaysencouraging” and “I value being part of

ANGLIAN POTTERS AT ICKWORTH HOUSE WOOD SALE AND

CRAFT FAIR

such a supportive group of people” and “it was my best year for sales, especially when Isold the unfinished piece I was making on Saturday”, “the raku area was particularlygood I thought”, and “as much as anything it’s the exposure that Anglian Potters getsthat is valuable”. All that and the National Trust organizer looks forward to seeing usagain next year…* If you would like to be included at Ickworth 2012 please get your applications back to me as earlyas possible following the publication of the Summer newsletter in May. In previous years places havebeen taken up very quickly.Words & pictures: Harvey Bradley

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ANGELA MELLOR IN MILANI was recently invited to exhibit at OfficineSaffi, a new Contemporary Ceramic ArtGallery in Milan. The exhibition calledTranslucencies showed the very competentsculptural work of Swiss ceramist ArnoldAnnen who likes to experiment with therelationship between the object in itsenvironment through space and light.Margaret O’Rorke’s thrown sculpturalforms grow from the potter’s wheel, theprocess of firing and a sense of adventurebetween light and space, incorporating lighting technology. My own translucent bonechina explores the effects of light on the landscape, especially in coastal areas where theinfinite variety of organic contours, tonal contrasts and patterns provide a continuingsource of inspiration. Exploring the characteristics of bone china and paperslip (amedium I developed during my MA Research), I seek to re-interpret my visceralresponse to these natural phenomena.The exhibition opening was very well attended with special guest Anita Besson whohas been inspirational to Laura Borghi in her undertaking of this new and excitinggallery in the centre of Milan. I also spent two days in Faenza where I visited theMuseum which houses a large collection of majolica ware. The winners of theInternational Ceramics Competition which the Museum had purchased over the yearswere also exhibited. On the second day I was invited to give a slide talk to students atthe Institute of Art and Ceramics, which was very well received.Translucencies Arnold Annen, Angela Mellor, Margaret O’Rorke 12 October to mid-November 2011 at ‘Officine Saffi’, MilanAngela Mellor

Melanie Max – PaintingsColin Saunders – Ceramics

Open weekends:Dec. 3/4; 10/11; 17/18

Opening hours:10.30am - 5pm

38A St Mary’s St., Ely, CB7 4ES

ANGELA MELLORChristmas Open Studio

Exhibition‘Winter Light’

We can hardly believe it but Earth & Fire, one of the premier ceramic events in the country, will be celebrating its 18th birthdaynext year. Every year potters from across the UK, mainland Europe and further afield have come to Nottinghamshire to selldirect to the public from market stalls set in the grounds of the ruined ancient abbey. With a full programme ofdemonstrations, campus stands showcasing the next generation of potters and trade stands selling tools of the trade Earth &Fire is truly a celebration of clay in all its many forms. We plan to welcome over a hundred potters to Rufford Abbey next yearrepresenting the very best of studio pottery. We’d love to see all our old friends again - if you haven’t been for a couple of yearswe’d love to see you back - if you’ve never been we’d love you to come and join us. We’ve simplified the application process andmade it completely online which has enabled us to waive the application fee we’ve charged in the past. All the information aboutthe event, venue and selection process is on the new updated webpages along with the application form.We’ve also put togethera Frequently Asked Questions section and you can download the last two catalogues to get a flavour of the event if you are new.For full details of the event and how to apply for a stall at the 2012 Earth & Fire Ceramic Fair at Rufford Abbey go towww3.nottinghamshire.gov.uk/enjoying/culture/arts/earth-and-fire/

CALLING ALL POTTERS...JOIN US FOR A CELEBRATION OF CLAYACT NOW - DEADLINE FOR APPLICATIONS IS 5PM, 2 DECEMBER 2011

POTFEST 2012Application forms go live onthe Potfest website at thebeginning of November.To see what happened thisyear with images of those whotook part in the Park and thePens see www.potfest.co.uk

www.angelamellor.com

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Decorated Plates &Platters

A two-day Anglian Potters event covering thethrowing and decorating of flat-ware. Participantscan choose to attend either day, or both sessions.Part 1 - Throwing plates and larger platters,employing a variety of methods. (Several different clays will be available.)Course Fee: £25. Venue: Ray Auker’s Studio, South Norfolk.Date: Saturday 3rd March 2012 Time: 10am-4pmPart 2 - Decorating plates & platters, different approaches to applying surfacedesign. Methods used will include inlay, majolica, slip, tube lining and modelling.Course Fee £35 Venue: Cathy D’Arcy’s Studio, Mildenhall.Date: Saturday 18th March 2012 Time 10am-4pmThose attending Part 2 only will need to bring two plates or platters in a leather-hard state. Parts 1 & 2 will be repeated on Sunday 4th and Sunday 19th if Saturdaysare over-subscribed. To book your place contact Susan Cupitt:

susan.cupitt@gmail.com Tel 01223 311937

EVENTS & MEMBERS’ EXHIBITIONS CERAMIC HELPLINEMembers to contact:Alan Foxley: handbuilding, reduction firing

01799 522631Colin Saunders: mould-making, transfers,slipcasting 01379 588278Victor Knibbs: oxidised stoneware,electric kilns, modifying clay bodies

01480 214741Deborah Baynes: raku, stoneware,earthenware (reduction & oxidised), saltglaze 01473 788300Beryl Hines: general, earthenware, raku

01473 735437Usch Spettigue: raw glazing/single firing

01473 787587Margaret Gardiner: salt / soda firing

01279 654025Sonia Lewis: high-fired ware, porcelain

01353 688316Angela Mellor: bone china paperclayand slipcasting 01353 666675

If you are willing to give advice and beadded to this list, please contact the Editor.

Mariam Cullum CathyD’Arcy

WORKSHOP WITH OSTINELLI & PRIESTFollowing on from their popular demonstration day, Ostinelli & Priesthave agreed to run a workshop for Anglian Potters. It will be a one-daycourse on a Saturday in February 2012 (date to be confirmed). Thecourse fee will be £60 per person, including all materials, clay, cuttingwire etc.There will be a maximum of 10 places allocated on a first-come first-served basis, and depending on the level of interest, there may be aworkshop on a second day. Contact Frank Logan for more informationand to book a place: 01359 688353

MARGARET GARDINER will beshowing her wares at these twovenues in East Anglia before Xmasas well as at Jesus Lane of course!

Crafts at Blackthorpe Barn3-4, 10-11 December

Rougham, Bury St Edmunds,Suffolk IP30 9LZwww.blackthorpebarn.com

Art Unwrapped For ChristmasSaturday 12 Nov-Friday 23 Dec

The Babylon Gallery, Waterside,Ely, Cambs, CB7 4AU

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AP CLAY STORESClay from Valentines, Staffs:an inexpensive source of clayfor members.

Phone to confirm availability andto arrange pickup during officehours. Sold in 12.5 kg bags.Please note that paper clay is nolonger stocked.

STONEWARES:-Firing 1150°C -1300°CSpecial Fleck £3.85ES5 Original £8.20White B17C grogged £5.75ES40 Handbuilding £10.65ES50 Crank £7.75V9G Dark £4.00

EARTHENWARES:-Firing 1080°C – 1140°CRed £3.45ES130 White £6.90

PORCELAINS:-Firing 1220°C – 1250°CP2 £8.10Royale £11.15Royale Grogged £11.70Audrey Blackman £12.65

Brick House Crafts operate from5,000 sq ft premises in Essex. They arepleased to confirm the continuation oftheir 10% discount scheme to membersof Anglian Potters on raw materials,clays (up to 1/2t) and hand tools.Lessons available on an hourly basistogether with City & Guilds Level 2 & 3courses (100% pass rate to date).Contact Mary or MaureenTel: 01376 585655

www.brickhouseceramics.co.uk

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Potterycrafts on TV: Kevin Millwood is demonstrating on the first Saturday of eachmonth on the Create and Craft channel (Freeview 36, Sky 671 and Freesat 813).

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DIARY DATES 2012Nigel Edmondson:5 February 2012, Mundfordwww.nigelandlibbyceramics.co.ukDouglas Fitch:25 March 2012, Mundfordwww.douglasfitch.co.ukAGM & Pam Schomberg:20 May 2012, Mundfordwww.pamschomberg.com

MEMBERSHIP FEESOrdinary £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-time ceramicsstudents – proof of status isrequired

ADVERTISING

RATESPrice per issue, 4 issues a yearFull page w 18cm x h 26.8cm £60.00Half page w 18cm x h 13.4cm £30.00Third page w 18cm x h 8.8cm £20.002 column w 11.8cm x h 17.6cm £26.002 column w 11.8cm x h 8.8cm £13.001 column w 5.7cm x h 17.6cm £13.001 column w 5.7cm x h 8.8cm £6.50Leaflet inserts (350) £35.00Copy dates:Spring Issue 1 FebruarySummer Issue 1 MayAutumn Issue 1 AugustWinter Issue 1 NovemberCopy to be supplied as .jpg, .tif, .pdfAdvertisements can be designed if textand pictures (minimum 300dpi) areprovided. Printed in full colour.Contact Carolyn Postgate, Editore: carolyn@clara.co.uk t: 01954 211033

DEADLINE FOR THE

SPRING NEWSLETTER:1 FEBRUARY 2012

FOR PUBLICATION BY:1 MARCH 2012

FREEOld Britannia Wheel

in good working order,FREE to a good home.

To be collected.Contact Jane Atkins

t: 01760 721348e: janeatkins@gmail.com

(Swaffham area)

WANTEDSMALL RAKU KILN

Please contact Susan Cupittt: 01223 311937

e: susan.cupitt@gmail.com.

WANTEDSHELVES AND PROPS FOR

1300°C KILNWrite To:

D. Potter, the Vineyard, BunwellLow Common NR16 1SY

FREEEQUIPMENT & MATERIALSFree to a good home• Excellent Potter’s Mate wheel

with bats• Two decorating wheels, one

bench and one pedestal• Two pugmills: 1 vertical wall-

mounted, 1 horizontal on abase

• Kiln: 5 cubic top-loader ringer(Fordhams Thermal System)downdraft propane-fired, twoburners

• Kiln, dismantled: 14 cubic ftfront-loader – boxes of hightemperature thermal insulatedbricks for hot-face, door inone piece. Metalwork toremake the base, two thermo-couples and two pyrometers.

• Four burners and burner-bricks.

• Other burners for another kiln.• Kiln shelves for both kilns.• Cones for accurate firings• Clay: lots of different types,

probably about a ton in 25kgbags.

• Bins to store in.• VG9 stoneware (Valentines)• some bags of porcelain,• possibly some Valentines

Special Fleck.• Wheeled metal trolleys for

storing bins.• Glazes and bins• Glaze materials: Potash

Feldspar, Quartz, China Clay,Whiting, Dolomite

• Metal Oxides: Cobalt Blue,Red Iron, Tin, Copper,Titanium

• Sieves various, mixing paddlesfor glazes

• many pottery sundries, toolsetc.

Please contact Desmond Clovert: 01263 511 465(North Norfolk)Experiments with decorating pots for

the wood firing at Potters’ Camp

Chris

& M

artin

Geo

rge

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