Page 50 - ClayCraft - Issue 35 (January 2020)

KEITH BRYMER JONES

REAPING THE REWARDS OF HARD

WORK AND CREATIVE THINKING

W ith a long and successful
career in production ceramics,
Keith Brymer Jones
became something of a national treasure
when he first hit our screens in 2015 as
one of the judges on The Great Pottery
Throw Down. He quickly became known
for welling up when a piece of work or a
contestant’s story affected him, and it
turns out this isn’t just for show. Having
recently spent a few hours chatting with
him about his life, his work and the
universe, there were several times when he
became emotional about the power of clay.
He is passionate about spreading the
message that you don’t have to be
academic to be successful, that being
creative is a hugely important part of life
and working with clay touches a part of
our psyche in a unique and wonderful way.

(Photos: Tracey Parsons)
Where it all began three years I was honoured enough to
Keith left school already knowing that he start throwing the simpler shapes and
wanted to work with clay. In 1984, he forms that we used to make.
started as a clay boy working for a pottery “I was there for eight or nine years and
in Harefield, under Robert Hudson and by the time I left I was head of production.
Alan Pett. “What they didn’t know about There was another clay boy – because I’d
pottery wasn’t worth knowing. They were moved up – Robert, Alan and me, and
really old school, really great people, and we’d produce 4,000-5,000 pieces a week,
it was the perfect place to learn,” said mostly for garden centres.” This is a
Keith. Even from the beginning, it’s clear figure that beginner potters really have to
he wasn’t afraid of hard work. stop and think about before it fully sinks
“Every two to three weeks we would get in.
10 tonnes of clay and I had to shovel it. We
also made our own clay body, and sold it Triumph from adversity
to Harrow College, Middlesex College, It could have been all over when Robert
and all over the place. and Alan decided to relocate to Scotland at
 Keith made a beaker for every man, “I was an enthusiastic 18-year-old, and I the end of the 1980s. But Keith started his
woman and child who worked at Spode, asked Alan when I could start throwing own studio in Highgate, north London and
back in the day – 1,236 in total. They with him and Robert. He said, ‘In five or while we might predict a slow start for any
were part of an art installation during six years’! But to reach that point I had to new business, he was soon making for
BCB, and were strewn over the old ball-up and throw 100 balls of clay at the Heal’s, Conran, Habitat, Laura Ashley,
Spode moulds, with a soundscape of end of each day, and I couldn’t leave until Monsoon Home, Barney’s New York… an
interviews with the old workers. The
decals were taken from old Spode I’d done them all. Alan would cut some of impressive list! But how did that apparently
designs which Keith pulled apart to them in half to show me where I was overnight success come about? “I literally
make this pattern. Each one is numbered putting the clay, and that discipline was got on the bus outside my studio one day
and will be auctioned o for charity. really drummed into me. After only about and went down to Tottenham Court Road
50 ClayCraft Issue 35