Very happy with my first smoke firing yesterday. Despite the weather the pots seemed to like the full elemental experience! I loved it too in truth and a hot mug of coffee in my wellies in the rain is hard to beat. Simple pleasures
Fascinating from the journal of modern craft.
Well I have been away for a while – holidays in the sun are good for the soul! BUT not for the waistline!! Some observations of the human form at leisure demonstrate a reflection of the way they live their lives “beer made this beautiful body”. No right or wrong to it. That sort of thing fascinates me. They work hard (in sedentary jobs) so they play hard. In women it might be the pressure to manifest ‘thin’ perhaps. I am mostly seeing the male version, but it’s not a scientific study.
How to begin?! Right in the middle of the new Tate Galleries chronological approach there is this small island of female pottery. The anthropological method perhaps?
Not actually! Margaret Harrison, Kay Hunt and Mary Kelly put along side Sylvia Pankhurst’s drawings of women working in the Potteries.
Not sure what to make of it’s proximity to the rest of the galleries, not yet anyway
The question I have really is about the relative completeness of the flower, especially on the mug. I am concerned that the flower looks too abstracted but also looks as if it is emerging from underneath the red. The red is an inglaze and the flower is a transfer that sits on top of the glaze. I also don’t know whether I like this in relation to the narrative of bringing the act of care to the surface. What do you think?
The only problem with the mug is that the flower is far too big to use whole. I could partially obscure the plate to make it similar to the mug and play with the bowl to find a similar effect.
The plate is also not conventional in that it’s centre is decorated but I don’t think I can loose the centre pattern and keep the feel of the pink strokes.
I am considering adding gold luster to this range as a simple band around the bowl and plate and down the handle of the mug.
Decisions about which shapes to include in the three ranges. The following thinking…
Red (support). Plate, bowl and mug
Green (structure). Teapot, cup and saucer, tea plate, bowl, dinner plate
Blue (flow). Teapot, cup and saucer and tea plate
These are for reasons of convention as much as concept. The red range is a foundation set that can be split or bought as one. Mugs are more likely to be bought separately as well as for reasons of function and cost so the fundamentals of living are a mug, a bowl and a plate. A tea plate, for example, doesn’t really enter the consciousness here!
Green is all inclusive. Something pastoral and not a primary colour so it enters the every day more easily in ceramics.
Blue (my voice). It is the colour of banking ‘uniform’, if only in navy blue. There is a coolness and elegance about the colour blue that means it would be more of a leisurely usage; a more established household and a likely afternoon (loose leaf) tea taker.
MARKET LOCATION: these need to be aimed at the luxury designer-maker buyer. The complexity of the development (workshops and distillation) necessitates a slightly higher price bracket but the design quality needs to be high so that the role of design to ‘make life better for people’ actually happens THROUGH the concept of celebrating the work of carers.
This is an important cup. In laying on the sun decal today I suddenly saw my own place in the process of this project; it made me smile to myself.
1. Foundation laid by me (green/white enamel on a manufactured body)
2. Event/relationship (sun transfers from the workshop consultation)
3. Tableau (this layer is not shown here but will be illustrations of my own making).
More echos but at the same time memory and celebration. Private memory and subtle body. Clarity in the surface, in the fixed image. A vision that sets a scene to stand the test of time.
It also echos a strongly held facet of my personal philosophy; nobody can realise your vision for you but nothing worth doing is EVER done alone. Curious.