Continuing to capture key points from broadcasts in lockdown.
Eddie Curtis
He has been working with clay for nearly 50 years based in County Durham. His father was a crafter. Eddie was interested in architecture as a child, wanting to put a mark on the world. After leaving art college he started working at a local pottery making dog bowls. Tough times financially, making a living from pottery. Drove around the Lake District trying to sell his work which didn’t work. So went to Europe to raise his profile. He won lots of prizes to fund show costs. Gained confidence after risking purchasing the biggest stand he could at CAL in 2006. At this time he was presenting his copper red phase which showed aesthetic combined with technical challenge. He was thrilled when people recognised his work and became driven for different reasons.
From 2012/13 he developed his blast phase. He loves to experiment, does not want to emulate nature, as nature will always win. Instead he pays homage to his parents tough life and part of his heritage. Looking at regeneration. He was fascinated by peoples fascination of picking up lids and looking inside of vessels. He concluded that Henry Moore’s sculptures are hollow however they have a life inside. He has to make work for a reason, he observes the clay, using past memories. It’s important that artists filter, use their eyes to only continue with work that has no unwonted qualities. He would not want to keep something that wasn’t beautiful. I found it interesting that he doesn’t have to be faithful to clay, do what you desire, he said.
I like how he pays homage to his parents and his heritage which I guess is similar to myself.
Patricia Shone
First experience of clay was in school in the 1970s. Dedicated teacher, class and rooms for clay. Parents were open to support what their children wanted to do. Foundation course in art allowed using all mediums (metal, wood etc) before applying for art college. All potters go through self reflection, doubt, worry. She left clay for 10 years having enjoyed making but didn’t like the end result. With support of husband moved back to clay and moved to Skye. Initially started making slipware for tourists and locals but was very frustrated.
There is a moment when you let go of something it releases a blockage in your life, when you are so attached to something. I can personally relate to this in terms of how I felt leaving my 30 year NHS career behind. Went on a one week course which re-energised her work. Her pieces now reflect Skye, they do not represent the landscape. Although I find her work beautiful I have to admit I am struggling to understand how they reflect Skye but not the landscape. When it’s a looser form it doesn’t work for her. More formal recognisable forms are required as she prefers tightness. It’s a balance between being in control and things happening naturally. Interestingly she handbuilds her work, using solid blocks of clay. She feels she’s made it as it’s not her mum buying it. I find it difficult not being in control and get frustrated if things don't go to plan (only briefly) then I try to get myself back on track. Sometimes you get nice surprises when you let go.
Douglas Fitch & Hannah McAndrew
Both were creative as children. Hannah studied at Manchester, where her philosophy was to do the things you love rather than to follow the money. Initially she chose metal has her medium but later transferred to clay. After graduating she wrote to potters to obtain an apprentice position. Douglas started as a painter before moving to clay. After graduating he got a job in a flower pot factory making slipcast lamp bases, before becoming a ceramic technician. He had no desire to be a potter as he had to support his family. Favourite quote in the podcast “you have to have a certain level of confidence to make a successful pot”.
Not the biggest fan of their work, slipware does not really interest me, more of a texture fan than painted decoration.
Richard Heeley
Went to school in Stoke where he studied pottery at GCE and A-level. Studied 3-D design at Manchester as an insurance policy in case he couldn’t make a living from clay. Obtained a technicians job in London after graduation and believes his turning point was applying for CPA membership. He believes that support is needed for potters starting out in their careers. Community workshops are a great idea for those starting out. He paints and draws every day. His philosophy is less is more, small suggestions, negative space to consider. He wanted fire in his work which is why he chose to move from electric to wood firing. Interestingly he adds sand to his clay, something I would like to pursue . Glazes and kilns don’t make a pot better. A good pot is a good pot. The form is the starting point, the kiln enhances the form. You create the environment, not the results to happen.
Zoe Taylor
Artists want you to feel the emotion of the place. Viewer to stand in the artist position, it’s about that feeling, direct conversation between the artist and viewer. She loves bright colours but finds it difficult to work with. A blue sky is not exactly interesting. An eye not told what to see, we’ll see more which I found thought provoking. Zoe is an untrained landscape artist who uses lots of underpainting and gesture marks in her work.
The above artists have been chosen as they express sense of place in their work or I have found their interview particularly inspirational.
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