Apparently one of the reasons for the upsurge in popularity of pottery-making was the recent TV series The Great Pottery Throw Down. I never watched the series at the time and have only recently caught episodes of it on You Tube. Of course, I appreciate that these kinds of programmes are made to entertain the watching public, but some of the tasks the contestants were made to perform were pretty ridiculous.
One episode saw the participants having to make as many egg cups as possible in a certain length of time, five minutes I think. The results were, quite frankly, pretty poor, but that was purely because of the time constraints. I am sometimes pressed for time in the studio and need to repeat throw a number of vessels, mugs or bowls perhaps, but I’ve never been so pushed that I’d accept anything that comes off the wheel no matter how bad. Nor have I ever thrown anything blindfold, not even as a bit of a wheeze, (another exercise contestants were made to do). I accept that these tasks are pure entertainment and meant as a fun diversion to the main assignment, but I wonder whether they are giving a fallacious and unnecessary impression of difficulty to the whole process of making pottery.
I also wondered about the production company’s choice of contestant. The first series featured ‘twelve of the country’s best amateur potters’. Were they the best amateurs in the county to start with, or just twelve of the ones willing to go on TV and be criticised in public? There must be dozens of potters the UK who are better than those contestants. And by saying that I am in no way denigrating those individuals who did appear on the programme. I certainly couldn’t and wouldn’t do it. In fact I hold my hands up and admit that I am weaker in some of the areas of pottery making that were featured in the series, coil-building for example. Perhaps a Great Pottery Throw Down series with twelve accomplished and experienced potters who make fewer mistakes and are masterly at every facet of ceramic production would make pretty boring TV. Having said that, even the most skilled potters make mistakes. (For evidence of my own incompetence check out the previous blog post of December 17th).
The day has finally arrived! The gallery is about to open, although at the moment there’s hardly anything in there! This coming week will see the place transformed from an empty space into a working gallery and pottery. Everything is ordered and there’ll be a constant stream of delivery vans dropping off equipment and supplies, at least that’s the theory!
Apart from frenzied work on the computer I’ve been trying to get paintings and drawings ready for hanging in the gallery; the photos above show a couple of paintings recently framed and ready to go. It’s all been hard work but very exciting. Amanda and I can’t wait to get it all up and running.
There is great difficulty in balancing the process of creating art and running a studio. Even before I’ve made a single pot, the demands of planning, setting up the workplace, and managing finances take its toll on the imagination. I’m conscious that working alone has the effect of separating the creative flow from the whole process of making pottery, forcing one to focus on the mundane aspects of business. Of course, I know that you can’t have your cake and eat it; if only it was possible to have complete freedom to make whatever you want and not bother with the practical aspects of managerial control and direction. Perhaps it’s only the very rich and the unemployed who are able to do this!
Trying to balance aspects of the Eastern artistic philosophy and that of the West is incredibly difficult. The asceticism, austerity and spirituality to which I aspire is almost impossible within Western society. Short of finding a cave and living in it as a hermit there is no way of filtering out every tendril of western influence. The only way to proceed is to accept it and make the most of it, using whatever aspect of modern culture you can to help you, while trying to keep the simplicity, economy of style, and of course the spirituality, within one’s art.
Bernard Leach once stated that modern society has ‘increased the tempo of industrial slavery’, and although one may argue that is no longer the case in the twenty-first century, we are still shackled in many senses to the treadmill of institutional monotony, even in within the ‘freedom’ of our smartphone, internet-driven, selfie-obsessed modern world. My hope is that, as a craftsman, I am not ‘obliged to live parasitically or precariously because I have no recognised function’. §
§ See A Potter’s Book by Bernard Leach (Faber and Faber 1940, 2011)
Now for the exciting news! Earth Pig will be opening a studio in the middle of November at The Arches Artisan Mill on Fairfield Road in Buxton, Derbyshire. The Arches is a beautifully converted Mill in the centre of the town and is home to several small craft businesses. A base here fulfils our need for place in a thriving town that is close to the inspirational countryside of the Peak District National Park.
As you can see from the photos above, there’s quite a lot to be done to get the place up and running in six weeks! The wheel and kiln will be in one arch and the gallery will be in the space opposite. (By the way, those aren’t my paintings in the picture – they’re someone else’s waiting to be removed). Of course, we’re planning to sell pots, but also run classes and, on selected days, have ad hoc taster session for visitors to the studio. So, if you’re a novice and fancy having a go at making a pot on the wheel you can just drop in! We’ll also be selling artwork – paintings, prints and greetings cards.
It’s an astounding thought that in a matter of weeks the studio, which has been little more than the germ of an idea for as long as I can remember, will finally be realised. Needless to say, developments will be posted in this blog. Watch this space!