Page 29 - ClayCraft - Issue 35 (January 2020)

POTTERS’ PLAYTIME

Christine Cox Eddie Curtis
“I very much enjoyed the atmosphere in “I’ve been working with clay for 40 years,
the room working alongside five other and in that time, I have always aspired to
makers doing their own things – making pieces that have scale. Given that I
discussions, banter and on occasions just could use up to 500 kilos of clay to create a
quiet concentration, and I valued the sculpture, with no implications of having
opportunity to work uninterrupted by to recycle the clay at the end, gave me
home distractions. Time ran out before unrestrained confidence to get on with the
the work I made was in any sort of job. The physicality of the process was
refined state that I would have been somewhat different to what I expected; I
happy with – another full day was had allowed for ‘super-size’ tools but
required! However, as they say in hadn’t appreciated the requirement for
politics, ‘lessons were learned’, and I feel supersized body strength when using
more confident now in scaling up and them – slicing off tens of kilos of clay from
working on more complex, larger the original half-tonne mound that I had
 Geo Cox has taken what he forms.” already beaten together from 40 bags of
learned home with him and is already plastic clay body took me to the limits of
working on bigger pieces. Wayne Clark my capabilities. What I gained from the
“What a fantastic experience, being able two-day process and everything it
most types of pottery. Imagine my panic, to make such large-scale work, alongside released me from was enough, and for
when I looked at the size of the projects, fellow makers, making the most of the that, I am grateful.”
that first morning! I quickly informed the collaborative conversation and problem-
assembled potters that I wished we had solving opportunity. I often throw quite Margaret Curtis
selected a Smooth Crank or even our Craft large pieces but have never had the “I’ve never had the opportunity to work
Crank, which is suitable for large opportunity to work with this volume of alongside a group of clayworkers before,
sculptural pieces. But it was a journey, a clay. For me, planning ahead to make the and while initially apprehensive, I really
step into the unknown, and without that, most of the limited timescale, control, enjoyed the process. From the moment of
knowledge and experience can’t be concentration and collaborative spirit ‘clocking on’ when we first arrived at the
obtained. All clays have their structural were the most valuable elements of this Potclays studio I was so impressed with
limit, but with skill, and experience, the experience. I thoroughly enjoyed it and how everyone immediately got down to
potters pushed the clay way past its would definitely take part in something the task of creating and kept on working
normal working range.” like this again.” with an inspirational focus for the two
days. Taking clay to its limits challenged
What the potters said Simon Shaw all of us I think, but at every point of
Geoff Cox “The concept of working on such a large ‘failure’ there was something new that we
“For a one-off, first-time project, I thought scale was new to me. In the past, I have learned and we addressed the problems as
it went really well. The tight time frame produced predominantly thrown work, we progressed. I was encouraged by my .
was good (if pressured). It concentrated occasionally of some scale up to 30-
the mind (and probably induced a degree 40kg. The idea of making work using 10
of panic), but it also took away any times this amount of clay I found both
preciousness and kept everything direct. I exciting and daunting. The working
thought it was a brilliant experience and environment was great, and the group
the most exciting (and challenging) one I’d dynamic was supportive and focused. By
had for many years. After 40 years’ disregarding the firing process, the
experience, it was an excellent reminder to making of the piece liberated some
take nothing for granted and made me limitations that may otherwise have
look at clay in a new light, as well as what been self-imposed.
I thought I knew, which was more to the “Handbuilding is still a relatively new
point of the exercise. I’ve since come to process to me and, on a practical level, I
realise that we are often held back by our certainly gained knowledge of what is
own perceived difficulties that are, in viable regarding clay condition/
truth, not the barriers we think. With the thickness/ strength. I think the main
knowledge gained, I immediately wanted benefit for me was the reinforcement
to do it again and have already started on that to move work on, you have to take  How big can you go? Margaret and
bigger pieces at home.” risks and be prepared to fail.” Eddie Curtis are finding out!
Issue 35 ClayCraft 29