Some train doodles etc….
Some train doodles etc….
After visiting the Potteries museum in Stoke last week, visiting the V&A in London yesterday and looking at my own personal collection of ceramics, I’m beginning to see trends and patterns in the work I am drawn to and like to surround myself with. Much of my work in the first year was stuff I enjoyed making but didn’t necessarily like. By pinpointing styles and techniques I find attractive I hope to make work I can feel proud of and that speaks more clearly of me.
Looking through my sketchbooks, notes and photos I’ve identified some key recurring themes and styles which I’m drawn to. Hopefully this can be a starting point for exploration when I return to university next month:
On Wednesday I travelled to Stoke-on-Trent to visit Middleport Pottery, home of the famous Burleigh-ware, named after the partners Burgess and Leigh who took over the pottery in 1862. The site the pottery is on lends much to its success – situated beside the canal, it was easy to import raw materials as well as export the finished pieces from the factory to market. However, the main reason for its success was that this was the first pottery that had a production line from start to finish in the same building. The raw clay came into the factory one end and finished, glazed and boxed ceramics came out the other.
The company specialised in earthenware tableware, using a white clay body that included china clay from Cornwall and Ball clay from Devon. This way, if the wares chipped they would be white inside unlike white tin-glazed pots, which when chipped would show the brown underneath.
Although only one bottle kiln survives today, the original pottery had seven until a clean air act was passed and meant they had to be demolished. Because the firings used coal, the pots were protected in saggars – large fireclay containers. Nowadays the factory uses cave sized gas kilns.
Clay used to be processed using an industrial filter press which can be found in the slip reclaim room. Today the clay is brought in pre-prepared and fed through a pug mill to the correct size. Wooden canals from the casting rooms above run through the ceiling back into the blungers that are kept constantly whirring, moving the slip beneath the floor so it doesn’t coagulate in the tank underground. Originally, children would have been employed to do this job, keeping the clay particles in suspension by stirring the slip. The slip’s viscosity would have been tested by dipping your arm into the liquid clay, now samples are tested with a more scientific method – a viscometer. All greenware clay is reclaimed and any discarded fired pieces are broken up and sold for filling potholes.
Making a teapot on the wheel is still something I’ve never attempted but I’ve learnt a bit about the difficulty of getting one that pours just right. These Burleigh ones have tiny holes in their lids and holes where the spout is attached inside so that they only pour liquid out as fast as air is sucked in, which stops them glugging.
Having had experience of slipcasting myself I was familiar with the technique but it was still fascinating to see it being done on such a large scale. Even though most things are done by hand, just like a production line in a factory, everyone has a specialised job, be it making the plaster moulds themselves, fettling and sponging the casts, applying paper transfers or packing and unloading the kiln. Even today, most of the mould-making and casting work is done by men while the majority of decorating and applying transfers is done by women. It helps to have small hands!
The original shapes that moulds are made form are turned on a plaster lathe. Plates are made in seconds using a jigger – discs of clay are cut to uniform width continuously on a cutting machine, they’re then spun into flat discs on one mechanical wheel, slapped onto a plaster mould and trimmed in another machine, then placed on a rotating drying rack. The most difficult job seems to be applying the transfer paper for the surface patterns. Once the paper has been attached with soft soap it can’t be moved again because the ink starts to seep in.
It’s a very different way of producing ceramics to what I’m used to seeing with studio potters, and although I wouldn’t argue making things in this way requires great skill on behalf of the individuals involved, I don’t know if I’d be happy working on designs I didn’t create myself. I think I’d rather have understanding and experience of all different stages of the process.
One thing that struck me was how as you move through the factory, each room has a unique smell, usually earthy mixed with the smell of an old building, heavy, industrial machinery and soot. Interestingly the brightly coloured Poole pottery is also produced in Middleport, the opposite end to the country!
“People don’t live on the Disc any more than, in less hand-crafted parts of the multiverse, they live on balls. Oh, planets may be the place where their body eats its tea, but they live elsewhere, in worlds of their own which orbit very handily around the centre of their heads.” Terry Pratchett – The Last Continent
“All we have to believe with is our senses: the tools we use to perceive the world, our sight, our touch, our memory. If they lie to us, then nothing can be trusted.” Neil Gaiman- American Gods
“He wondered whether home was a thing that happened to a place after a while, or if it was something that you found in the end, if you simply walked and waited and willed it long enough.” Neil Gaiman – American Gods
“Look at me, more than thirty years have passed and I am different. It’s not true that memories stay fixed in the mind, frozen: they, too, go astray, like the body. Yes, I remember a time when I was different. I would like to be the girl in the book: I would be happy also just to have been her, but I never was. It wasn’t I who attracted the Englishman. I remember that I was malleable, like clay in his hands. My love affairs…that’s what interests you, right? Well, they are fine where they are: in my memory, faded, withered with a trace of perfume, like a collection of dried flowers. In yours they have become shiny and bright like plastic toys. I don’t know which are more beautiful” – Primo Levi – A Tranquil Star
“Distance and difference are the secret tonic of creativity. When we get home, home is still the same. But something in our mind has been changed, and that changes everything.” – Jonah Lehrer