2010 03 Autumn

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NEWSLETTERAUTUMN 2010

www.anglianpotters.org.uk

IN THIS ISSUE:JJ Vincent

Frith SchoolSculpture Lounge

Halesworth GalleryEmmanuel College

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EDITOR’S NOTESIn this issue we have two interestingaccounts of members attendingcourses: I hope this is encouragesmore of you to send in your talesfrom courses in Britain or abroad!Potters' camp promises to provideplenty of entertainment to readersof the Newsletter, as well as tomembers who were there: this timewe have a taster from SallyMacpherson with a few photographsto whet our appetites – more willfollow in the Winter Newsletter.

Cover: contemplative orangutan,sculpture and photo by JJ Vincent

CHAIRMAN'S REPORTRON AND PAULINE BRIDGE

It is with sadness that I have learnedthat Ron and Pauline have decidednot to continue their membership.They are no longer able to work withclay and do not drive very much.Ron and Pauline served in the role ofevents organisers and hostedcommittee meetings at their formerhome in Risby. They both exhibitedregularly at exhibitions and Ron wasa Founding and Selected Member.Pauline made wonderful porcelainjewellery. Ron produced superbstoneware tableware and somereally excellent distinctivesculptures. I thank them both onbehalf of the members and wishthem well.JERRY FINLAYSON

The committee has been pleased togrant Jerry Honorary LifeMembership in appreciation of hisservice to the membership on manyoccasions and in many ways,

Plate by Ron Bridge Porcelain necklaces by Pauline Bridge

especially as host to our annualPotters' Camp.POTTERS' CAMP

As I write this. I am recovering froma wonderful Potters' Camp. Therewere many highlights, and it was amost enjoyable event. Once againour great thanks go to all involved inany way, especially to our tolerantand generous host, Jerry Finlayson.Victor

JJ Vincent crops up quite a bit inthis issue: not only was hedemonstrating for us at the AGM,but he provided the musicalentertainment at Potters' Camp andinstalled his prototype new standsfor Anglian Potters exhibitions atEmmanuel College. The SummerShow was a triumph of organisation– the well-oiled machine whirred intoaction under the guiding hands ofnew organisers Jackie Watson andKarrie Langdon, and the resultingPrivate View buzzed with eagerbuyers enjoying a splendidexhibition laid out with great careand skill by Ray Auker.Carolyn

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CONTENTSPage 2 Chairman’s Report; Editor’s Notes; CommitteePage 3 AGM 2010Page 4 JJ Vincent at the AGMPage 6 Easter School with Margaret and David FrithPage 8 My Favourite Tool; JJ Vincent’s list of materialsPage 9 The Leach PotteryPage 11 The Sculpture Lounge RevisitedPage 12 Anglian Potters at the Halesworth GalleryPage 13 Ceramic HelplinePage 14 Potters’ Camp Part IPage 16 Anatomy of an Exhibition: Summer Show at Emmanuel CollegePage 18 Book Review; Cambridge Cyrenians workshop opportunityPage 19 Clay Stores update: new prices; Mailing List help wantedPage 20 Members’ Exhibitions and new

ANGLIAN POTTERS AUTUMN NEWSLETTER 2010

AGM 2010 MINUTESinvolved in the day events andasked for offers ofaccommodation for visitingdemonstrators.x) Selected Members’Secretary: Anja reported in herabsence that there is a SelectedMembers’ exhibition at theHaddenham Gallery, 9 October –7 November. John Masterton hasbeen elected a SelectedMember.

6. Election of Officers:The following new officers were

elected:• Exhibitions Organisers:Jackie Watson and Karrie Langdon• Vice Chairman: Ray Auker• Press Officer: Christine Pike

7. Subscriptions for 2011: Thesubscriptions for 2011 will remainunchanged.

8. AoB: Victor was elected anHonorary Member in gratitude forhis many years service for AnglianPotters since its foundation.Roberta Bateman has set up anAnglian Potters site on Facebook.£250 was allocated to theconstruction of the CPA’s newpremises in London.

Susan CupittSecretary

iv) Newsletter: Carolyn reportedthat it is going from strength tostrength, largely due to theincreased number of interestingarticles from members, and theinclusion of commercialadvertising.v) Exhibitions Organisers:Helen and Cathy thanked allthose who had helped with theexhibitions. They asked for morehelp with dismantling exhibitions.Because of some recent thefts ofpots, exhibitors will be asked tohave their work checked in bysomeone other than themselves.Helen and Cathy are steppingdown this year, having been inoffice for three years.vi) Membership Secretary:Mary reported a big increase inmembership, from last year’s 311to 340 and requested membersto make sure she has their emailaddresses.vii) Website: Ian reported it upand running.viii) Potters Camp: Jerry isbeginning the arrangements.Sally reported that there isalready a waiting list.ix) Events Organisers: Heatherand Felicity plan to give up nextyear. They thanked all those

Minutes of the Annual GeneralMeeting held on Sunday 16 May atHockwold-cum-Wilton Village Hall1. Apologies for absence:2. Members present: 61 members

signed the register.3. The minutes of last year’s

Annual General Meeting werepassed as a true record.

4. Matters arising: JJ Vincent hadbrought along a sample of theproposed new exhibition displayunits which he had designed.

5.Officers’ Reports i) Chairman: Victor listed theevents of the preceding year: thetwo open exhibitions, twoSelected Members exhibitions,four day events, the Potters’Camp, our showing at IckworthWood Fair, a raku firing weekendand a raku kiln-building weekend.He has been pleased with theway the Newsletter is evolving.ii) Treasurer: Liz presented theaccounts, which were accepted.They show a surprisingly largeincrease in turnover this year.iii) Secretary: Susan mentionedRodney Hunt’s letter about a newventure at The Museum of EastAnglian Life in Stowmarket.Karrie Langdon will keep an eyeon it.

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JJ VINCENT AT THE AGM

Our own J J Vincent was the guestspeaker for May’s demonstrationday, and it could have been sub-titled ‘101 Uses for a Guitar String’!Bert Weedon might blench at thethought, but the ever-resourceful JJfinds a low D string makes a perfectclay cutter, and small pieces ofguitar string wound together can beused to make an excellent tool forrefining detail and cleaning up areasof clay.

A professional musician by trade, JJdiscovered a passion for clay aboutsix years ago and now divides histime between the two. Being self-taught, he has a refreshingly robustand anarchic approach to hissculpting, breaking rules and moulds– figuratively and literally (as thosepresent witnessed when JJ’s mallet

and altering things to make his owncustomised tools: we were allintrigued by the grouting gun andlength of drainpipe he had fashionedsuccessfully into a clay extruder.JJ makes his animal sculptures by acombination of slab building and theassemblage of moulded parts. Off-beat and quirky, they all havesomething oddly human about them– even the fish have eyebrows.Happy to experiment with glazes, JJmight use any one of a number offinishes, including raku, velvetunderglazes, coloured porcelain slipor even a cold finish, such as anacrylic wash. He works in stoneware(Earthstone Hand-building, forpreference), and sometimes usespaper clay, especially whenmodelling large and fragile pieces.Time constraints meant that JJ wasunder pressure to complete twosculptures in the afternoon and hishare almost came to grief becauseof the softness of the clay. However,ever the showman, and tosympathetic “Aaahs” from theaudience, he rose to the occasionand a number of skewers werequickly employed as splints for thedrooping ear. All in all, we weretreated to a very entertainingafternoon and JJ richly deserved hisround of applause.Words: Christine PikePictures: JJ Vincent,Carolyn Postgate

connected with plaster withdevastating results!) and making useof whatever comes to hand. Hencethe guitar strings.Builders’ yards also prove a richsource of materials, especially forinsulation foam, which can be carvedinto shapes for casting, and off-cutsof MDF, which can be cut intotemplates. Like a one man ‘A Team’JJ also has a penchant for adapting

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previous days: turning pots off,putting on handles, applyingdecoration before biscuit firing. Itwas quite busy but also relaxed. Wewere blessed with the nicestweather imaginable and we couldspread into the garden for dryingpots etc. The goal was to geteverything ready for biscuit firingover the weekend. Also theworkshop area had to betransformed from a pot production/throwing space into a glazing anddecorating area by taking most ofthe wheels out and getting the glazebuckets into place. These schoolshave run for a long time and you cansee it in every bit of the organisation!The goal in the second week wasglazing and decoration. Again we

I saw the advertisement in CeramicReview. I have often seen coursesadvertised and always thought thatthe Friths’ course sounded veryattractive, simply because it is twoweeks long, with a free weekend inbetween. In two weeks one shouldbe able to learn a lot about everyaspect of pottery, from making thepots to decoration. It also helpedthat I like David and Margaret’s potsa lot. I had seen Brookhouse Potterybefore and the location is veryattractive.I know I am a lucky girl and thecourse over Easter was my birthdaypresent, so I went off very early onEaster Monday morning full ofexpectation. It might be too early forany conclusion at this point of thearticle, but let me just say: myexpectations were more than met!David and Margaret havedemonstrated for Anglian Potters inthe past, but do you ever get tired ofwatching someone skilled in the artof throwing a pot or assemblingsomething complex like a teapot? Idon’t. On the first day we watchedDavid throwing the most wonderfulplates. Within 30-45 minutes heshowed several variations in makinga plate and after that you reallywanted to do it yourself. Of coursenot quite as professionally, buteverybody improved during the day.Day 2: David went on to show usjugs, bottles and vases. Againeverybody was back on the wheelsto do it themselves! At this point I

were all mesmerised watching Daviddecorating a square plate or one ofhis bottles. After the demonstrationthat morning I think everybody wasslightly stunned as to what waspossible and the way it could beachieved. The best thing to do wasto go into the showroom and find apiece that appealed to you and ask:“How did you do that?” David andMargaret showed ‘hands-on’ how todo it and in which sequential order toapply either wax or a glaze, anotherglaze on top and a bit of ashsprayed on top of that etc. etc.Nothing was a secret and whyshould it be? Anyone trying to copy

thought it important to concentrateon one or two different things thatDavid had demonstrated in themorning. This was difficult, becauseeverything looked so good and I wasstill not quite sure whether it wasinspiring or frustrating that when youhad made a vase, which was prettygood in your view, David cameround, saying, “Can I sit down for amoment?”. He then put his hands onthe pot and within 30 seconds or soit looked so different and so muchbetter! It helped to remind myselfthat David and Margaret have beenpotting for 50+ years....Day 3: hand building. A slab of claywas pressed onto a plaster mould tocreate a square plate and extrudedfeet were put on. The throwingpractice also continued. There wasplenty of space, so everybody coulddo whatever they wanted.Day 4: we assembled a square boxfrom extruded parts and we startedto finish off our products from the

EASTER SCHOOL WITH MARGARET AND DAVID FRITH

Can we achieve this?

Vase with koi carp

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David or Margaret needs an awful lotof years under their belt in order toachieve the ease of touch in makingor decorating. For one of Margaret’splates I counted 10 differentdecorating steps: Before biscuitfiring an iron slip (1) followed by aporcelain slip (2) applied to the rim.After biscuit firing Tenmoku (3) wasapplied only on the inner part of theplate (not the rim), then a waxpattern (4) was drawn onto theTenmoku, followed by the applicationof a sycamore ash glaze (5) andspots with copper red glaze (6). Thisis just the inner circle of the plate. Afireclay wash (7) was applied ontothe rim, followed by sprays of an ashglaze (8), brown glaze (9) and finallyblue glaze (10). Puh! It takes a bit ofpractice to see through this complexdecorating pattern! And even copyingall these steps does not achieve thesame result!With the glazing and decoratingalmost completed, David startedpacking the wood fired kiln. Just over200 pots were packed into the kiln -not all products of the course - butDavid and Margaret always havesome spare. The firing was done onthe Thursday of the second week,starting at 7 am and finishing at9.30pm. Maximum temperature was1220°C but it was maintained forseveral hours and the cones weredown by the end of the firing.As if we weren’t already impressedby David’s and Margaret’scapabilities, on the Friday Davidshowed us how to make tools in his

own tool-making workshop. Wemade throwing ribs, metal harps tocut plates from bats etc., dies forextruders, a multipurpose tool madefrom a steel ruler and double sided-callipers (only for the experts,because precision is required! I gotone as a gift - thank you Roger!).There seems to be nothing thatDavid does not do himself! One thingI would say about the tool-making:David should have a girl and a boysession for that, because the boyswere inseparable from the toolmaking workshop once they hadstarted!Saturday was the big day to see thefinal products! Patience was requiredbecause the kiln was still hot. Timefor making a few more tools. Theunpacking of the kiln was veryexciting. I was surprised no fights Decorated lid for a square box

broke out but everybody seemed toremember their own products. Andwhat a feast for the eyes it was!Everybody was very pleased withwhat they had achieved and one ortwo pieces of each courseparticipant were truly stunning!So maybe now it is time tosummarize the school. It wouldprobably suffice to say: “I’d goagain!” Several people do go againand again and make other thingslike huge platters or bread crocks,as two of the students did this time.It probably makes sense to attendthe course when you’ve had a bit ofpractice in throwing so that youbenefit from concentrating onpractising the finishing of the pots.It definitely helps to have anunderstanding of glazes, especiallythe ones used by David andMargaret (Tenmoku, Celadons, Kaki,Tessha, Ash glazes). Apart from thatI think everybody came away fromthese two weeks a better potter!Words and pictures: Anja Penger

Boys in a toy shop (sorry, toolshop)!

A well-deserved tea break

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MY FAVOURITE TOOL......is quite hard to choose. But havea look at this: a harp with a taut wirefor cutting off plates or bowls frombatts. Have you ever thrown a niceplate and cut through the bottomwhen using a wire tool? This will nothappen again (if the thickness of thebottom is adequate) when using thistool. The wire in the harp cannotbend upwards since it is quite taut.It is fixed about 1.5 mm off the endof the harp, so it cuts off 1.5 mm ofclay from your plate. Of course itneeds to be wide and high enough tofit around the rim of a plate or bowl(see the matchbox as sizereference). We made this tool during the Frith’s Easter School. (see photograph on page 7 of toolmakers at work)Anja Penger

CLAYS:Valentines ES40 HandbuildingValentines ES50 CrankValentines ES65 Terracotta Crank

RAKU GLAZES:Sacco Blue Hawaii copperPotter’s Palette Raku glazeDavid Roberts crackle white 1 & 2Tim Andrews copper matt

CONE 6 GLAZES:Emmanuel Cooper #187 Dolomite mattDolomite Satin Black = #187+B10+MangoMichael Bailey ASM 1+oxides or stainsShiny eyes: BG1 over underglaze, oxide or stained area

JJ’S LIST OF MATERIALS

www.jjvincent.com

The kiln ready to be unpackedThe final products

Grouting gunclay extruder

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The Leach Pottery team writes: Wewould like to express our warmestthanks to all who took the trouble tovote for the pottery which was in therunning for the £100,000 Art FundPrize 2010. We were disappointedto learn last week that we had notmade the last four but the publicityand the votes all helped to raise theprofile of the pottery and of St Ivesas a cultural venue. The commentsleft on the Art Fund Prize websitewere inspiring and moving. The fourshort-listed museums were theAshmolean, Oxford; Blists HillVictorian Town, Ironbridge; TheHerbert Art Gallery and Museum,Coventry; the Ulster Museum,Belfast. We can all be proud offeaturing in that league.

THE LEACH POTTERY

This June I was privileged to visit therenovated Leach Pottery in St Ives.As an Anglian Potters member I wasallowed free entry. There is a tour ofthe pottery every morning. Theperson who gave the guided tour onthe morning I went had worked atthe pottery in the 1960s and gave avery interesting insight into the waythe business was run and howyoung potters were trained. Thelarge climbing kiln which is nowopen to view by the public was thefirst one built in Britain. There is filmof it firing in the archives and it isinteresting to realize when thepottery was working it was on theedge of St Ives, whereas it is nowsurrounded by houses.Words and pictures: Mary Wyatt

A VISIT TO THE LEACH POTTERY

Above: the stone boxes on the right are where the clay was delivered by road. This wasthen processed at the pottery before use. Left: the kilns

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Kilns for ceramics

New and second-hand equipment

Kilns and furnaces serviced and repaired

Potters wheels – pugmills

Essex Kilns LtdTel 01621 869342

email [email protected]

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THE SCULPTURE LOUNGE REVISITEDsnow monkey. Other students chosesubjects as varied as a badger,eagle, a pair of elephants, a treefrog, and even a unicorn.An unexpected bonus was that thistime the course coincided with theannual art auction for the HolmfirthArts Festival and Brendan hadbooked a table for any of us whowanted to go. It was held in theimpressive North Light Gallery, nearHuddersfield. Housed in a convertedeighteenth century textile mill withhigh ceilings and plenty of windows,the gallery was the perfect venue for

clay. And there would be no self-denial on the catering front either, asI knew that the food would bedelicious and plentiful – includingafternoon tea and cakes every day!This time, the brief was simply ‘TheWild’, a subject so wide tointerpretation that I was a bitdaunted at first, especially as I hadleft myself very little time to preparein advance. Fortunately, theSculpture Lounge has a decentlibrary of books to use as sourcematerial and I quickly decided to trymy hand at a Japanese macaque, or

As I headed to Holmfirth for anothercourse with Brendan Hesmondhalghat the Sculpture Lounge, it struckme that I was about to indulge in thepotter’s equivalent of a spa retreat –four days of pure sculpting heaven inglorious surroundings, with nodistractions and nothing to worryabout except how to coaxsomething interesting out of the

this event and the artwork wasdisplayed sensitively. Holmfirth andthe surrounding area is blessed withmore than its fair share of artistictalent and many professional artistsand potters had submitted pieces forthe auction, including Annie Peakerand Jim Robison.Bidding could have been brisker andI understand that some of the pricesachieved were lower than last year(blame the credit crunch!), but spiritswere raised by the star turn of theevening: Anglian Potters’ own DavidCooke, who provided the musicalentertainment. David has becomeincreasingly involved in his music inrecent years but somehow still findsthe time to create his wonderfulsculptures. I loved the John Dorybronze fish he submitted for theauction.As always on these courses, Istarted out wondering whether Iwould be up to the challenge, but itis good to be out of your comfortzone occasionally, and, withBrendan’s guidance, my macaque

turned out pretty well. Later in theyear I shall be going up again forsome tuition in wax sculpting. It willbe another steep learning curve, Iam sure – but well worth the effort!Words and pictures: Christine Pike

Josie’s handChristine Pike

David Cooke Joanne Cooke

David Cooke entertaining

Anne’s work in progress

Josie’s hand

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This is a nicely situated gallery in apleasant Suffolk town. Through arather unassuming entrance you aremet with a steep climb of stairs thatreveals a gallery that is light, brightand welcoming. There are numerousspaces to be utilised but withenough space for a busy PrivateView that also allows room to viewdisplays.As usual members’ contributionswere varied in style and techniqueand the setting out provided a goodopportunity for first time exhibitors(or those showing new work) to putwork out without being daunted.Each potter selected an area inwhich to create their own identityand spaces, like the vast fireplaces,gaveopportunities forunusual displays.Living locally RobRutterfordcoordinatedproceedings inhis typically low key fashion thatcreated a relaxed atmosphere for thesetting up and he and the gallerystaff seemed pleased with theoutcome. On taking down dayfellow potters seemed very happywith the event. Thanks go to Rob forinviting us all and maybe we mightmeet up again sometime?Harvey Bradley

* * * * * *The building lends itself perfectly tothe display of three-dimensionalwork. Housed in a collection of

fifteenth century almshouses, theupper floors of which have beenknocked through to make onecontinuous gallery, the space is lightand airy, but still retains a sense ofintimacy. Rob Rutterford, who was

instrumental in organizing theexhibition, said that the two weekshow proved very successful, withover £1100 of sales. More than ahundred people attended the privateview and the general arrangement,quality, and variety of work met witha very enthusiastic response.For some members, this was theirfirst show, so it is even moreencouraging to note that sales weremade right across the board.Several potters took the opportunityto visit some of the other galleries

‘The gallery is run by a committee made up of artists and local peopleinterested in the fine arts. The shows are supervised entirely by voluntaryhelpers. Part of the running costs is met by ‘Friends of the Gallery’ whoalways welcome new members.’

ANGLIAN POTTERS AT THE HALESWORTH GALLERY

along the Suffolk coast – of whichthere are several, especially inSouthwold, which is a charmingtown a short drive away.The show was so successful thatthe Halesworth Gallery would be

very interestedin having AnglianPotters backagain as part oftheir summerexhibitionprogramme fornext year. Rob

is unable to co-ordinate this himself,but suggests that a group ofmembers (six to seven) get togetherand make a direct application to thegallery*. This would most likely be inconjunction with a couple of paintersor print-makers.Christine Pike*Application to the gallery must bemade before Christmas 2010 to:Jan Martin 01986 872409 or [email protected]

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CERAMIC HELPLINEMembers to contact:Alan Foxley: handbuilding, reductionfiring 01799 522631Colin Saunders: mould-making,slipware, transfers 01379 588278Victor Knibbs: oxidised stoneware,electric kilns, modifying clay bodies

01480 214741Deborah Baynes: raku, stoneware,earthenware (reduction & oxidised),salt glaze 01473 788300Beryl Hines: general, earthenware,raku

01473 735437Usch Spettigue: raw glazing/singlefiring 01473 787587Margaret Gardiner: salt glaze

01279 654025Sonia Lewis: high-fired ware, porcelain

01353 688316Angela Mellor: bone china paperclayand slipcasting 01353 666675

If you are willing to give advice, and beadded to this list, please contact theEditor.

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to the limit and we had fountains ofwater in quite a few places along itslength and a veritable waterfall intothe dustbins at each end; they filledto overflowing in minutes. The rainwas spectacular to watch, from thedry of the marquee, and was agodsend. The fields around Jerry’splace were tinder dry when wearrived and without the rain we maynot have been able to fire some ofthe kilns because of the risk of straysparks setting light to the crops.I was camping in a tent thatwithstood the rain well – no leaks.Unfortunately the same could not besaid for my airbed. When I got intobed on Tuesday night, it was as flatas a pancake. After two hourssleeping on the ground I gave up,grabbed my duveta n d

climbedinto

myc a rw h i c h wasp a r k e d next tothe tent and slept on the back seat.I could have moved to the house orany of the caravans for a bed butcouldn’t face walking through wetgrass dragging a duvet. I paid for mylaziness. I was up again at 5.30amquartering the garden, walking off thecramp in my legs. I did gatherenough field mushrooms in the

I ache all over, my eyes are so puffyfrom smoke and lack of sleep I canhardly open them and my feet willnever be their normal colour again. Ihave just returned from an amazingweek at Potters’ Camp. My headfeels all woolly but I thought I wouldwrite a few words about this year’scamp while it is still fresh in mymind.I arrived Monday morning as part ofthe advance party to sort out thehouse, caravans and site to get itready for seventy-plus potters,partners and hangers on, who werearriving on Wednesday morning. Afew other members of the advanceparty were due to arrive on Tuesdayto get the marquees up, but rain wasforecast so Jerry decided themarquees needed to go up on theMonday. So, for the second yearrunning, my cleaning team wascommandeered for marquee repairand erection duties. Apex frameswere linked and the ‘canvas’ roof puton, then the eight or nine peoplepresent, just enough for one personper pole, had to lift one side of themarquee and ram the poles intosockets on the roof frame. Soundseasy; not at all. Most of us therewere a little on the short side. Theinitial lift to chest height was fine butthen, like weight lifters, we had thefinal lift to straight arms above head,then a hold, with one hand, whileusing the other to slot the pole intoplace before the complete routinewas finished. We had to completethe routine another three timesbefore both large marquees wereerected. Of course Jerry was right,by Tuesday afternoon we wereexperiencing the first rain formonths. It came down in stair rods.The ingenious guttering erectedbetween the marquees was tested

process to make a deliciousbreakfast. Tuesday night I slept on afoam mattress, which wasmarginally softer than the ground,but by Wednesday night I had a leakfree airbed and slept like a baby.Wednesday morning was bright andsunny and by the time the firstpotter arrived at around nineeverything was ready. The campworked like a dream: there wasplenty to do – loads of workshops,demonstrations and impromptuactivities. All the kilns fired well andproduced some lovely pots with onlya few disappointing results. Thepizzas were perfect and everyonewas fed well and in good time (nolong queues like last year). Wedidn’t run out of tea, coffee or looroll, although the milk got a bit lowat one time, then two lots arrived atonce and we were flooded with it.Our Saturday night food andentertainment were terrific andalthough it rained it was hardly everat inconvenient times. I won’t saymore, I’ll just let the pictures tell thestory.I would like to say a thank you to afew people. In general I won’tmention names as I am sure toforget someone if I do.• to Jerry for once again opening uphis home to us and providing us withsuch a fantastic venue.• to all the organisers who haveworked quietly behind the scenesboth during the year and then atcamp. Everybody seems to think itis me but it isn’t. I’m just the bossybreeches with the loud voice.• to the people who came to theworking parties during the year tomix glazes, collect wood and build,mend and tidy.• to those who came to help on theMonday and Tuesday before camp.

POTTERS’ CAMP 2010 - PART I

Jerry clearing the site

Night potters

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• to everyone who gave up their timeto provide us with workshops anddemonstrations.• to those who fired and stoked thekilns.• to pizza Pete and his team ofhelpers, everyone who helped in thekitchen on Saturday to prepare forour meal in the evening and JJ, whoentertained us all so magnificently.With no watch I completely losttrack of the time and even what dayof the week it was. With notelevision, radio or newspapers I hadno idea what was going on in therest of the world, aliens could havelanded for all I knew or cared. Wewere in our own little world having agreat time. Shame it had to finish. Ireturned to a house where husbandand son had been left to their owndevices for a week – no need toelaborate further, I feel! Roll on nextyear, if Jerry will have us.Sally Macpherson

From top, clockwise: Sally & Jerrycarrying out running repairs on themarquee; Liz Chipchase’s fierydragon at camp and later in theshow at Emmanuel College;JJ Vincent entertaining on Saturdaynight; Ray Auker sculpting ChrisGeorge’s head; opening the salt &soda kiln; packing the salt & sodakiln. Below: collapsing exhaustedafter cooking pizzas.

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Setting up a major exhibition isa complicated business,involving meticulous planning,many people and a great dealof energy. These are some ofmy shapshots from theSummer Show at EmmanuelCollege, Cambridge, whichopened on 14th August.Carolyn Postgate

ANATOMY OF AN EXHIBITION - SUMMER SHOW

Buying provisions for the PrivateView

Unloading stands from the van

Stands waiting in the wings

Consulting plans

Emmanuel College

Painting boxes

Putting up stands

Unpacking pots

Clipping boards together

Painting stands

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The Private View Refreshment table

JJ’s stands completedJJ Vincent putting up his new stands

Action men Ray Auker creating the display Lunch break

Adjusting the lighting Touching up the paintwork

Exhibition ready for visitors Information table

Selling table ready for action

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CERAMIC JEWELLERY

Joy BosworthA&C Black £15.99This is a welcome addition to A&CBlack’s ever-practical ceramicshandbook series. Before opening thebook, I wondered what I would find init. After all, isn’t jewellery the sameas other ceramics, but smaller?Sure enough, despite being only justover 100 pages long, this smallvolume packs in almost an entireceramics course, in miniature.The small scale of most jewellerypresents different challenges – fiddlyforming, the inherent fragility ofsmall fired clay items, decorationwithout dominating the form, toname a few – but it also presentslovely opportunities. The ease andnecessity with which the ceramicform can be combined with othermaterials, such as metal findings,the option of domestic scaleproduction, shorter drying times,lower heat stresses in firing and costare all benefits, as well as thepleasure of being able to wear whatyou make. Techniques and issuesspecific to jewellery, such as designconsiderations, Egyptian paste,sourcing materials and microwavekilns take this even farther from ageneral ceramics book. This bookmakes a pretty good stab atcovering the lot, and includes casestudies from successful modernmakers.My only criticism is that thephotography doesn’t do all thefinished pieces justice. It’s not bad,just not as crisp or sparkling as Iwould have liked. Perhaps lightingsmall pieces is harder, or does thenear life-size reproduction of manyitems mean that imperfections showthrough more than normal?Mark Boyd

BOOK REVIEW MEMBERS' WEBSITES:www.angelamellor.comwww.brendagreenart.co.ukwww.broadwayceramics.comwww.cathydarcy.comwww.ceramicsbuyanja.co.ukwww.corbykilns.co.ukwww.chrisrumsey.co.ukwww.heathergrahampotter.comwww.helenhpottery.co.ukwww.helenmartino.co.ukwww.iangeorgeceramics.co.ukwww.ingridhunter.comwww.janburridge.co.ukwww.janehollidge.co.ukwww.jjvincent.comwww.johnmasterton.co.ukwww.judsonsinfrance.comwww.madeincley.co.ukwww.maggygardiner.comwww.matthewblakely.co.ukwww.patsouthwood.co.ukwww.potterycourses.comwww.potterycourses.netwww.rebeccaharvey.comwww.richardbaxter.co.ukwww.roceramics.co.ukwww.rockwellpottery.comwww.rowanhumberstone.co.ukwww.sculpturelounge.comwww.secretceramics.co.ukwww.susancupitt.co.ukwww.suffolkstoneware.co.ukwww.woodnewtonpottery.co.uk

Contact the Editor if you want toadd your site to this list.

www.anglianpotters.org.uk

THE CAMBRIDGE

CYRENIANS’ POTTERY

WORKSHOPAddress: Unit 7, CambridgeBusiness Park, Barnwell Drive, CB58UZ.Our workshop is available throughoutthe week – excluding Wednesdaysand Fridays – for individuals andgroups who require a space tocreate pottery. The site has a largefront-loading kiln and all theequipment and materials required forslab and coil work. The Cyrenianscan also offer an experiencedceramicist to lead sessions or anassistant to provide support.For more information, please contactBrian Holman:[email protected] 712501

Have you been wondering how best to present

images of your work?Do not fancy acquiring expensive

photographic equipment?I could have a proposal for you to consider:Contact Rosella Schembri on 01376 567557

[email protected]

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Brick House Crafts operate from5,000 sq ft premises in Essex. They arepleased to confirm the continuation oftheir 10% discount scheme to membersof Anglian Potters on raw materials,clays (up to 1/2t) and hand tools.Lessons available on an hourly basistogether with City & Guilds Level 2 & 3courses (100% pass rate to date).Contact Mary or MaureenTel: 01376 585655

www.brickhouseceramics.co.uk

We have held the price of clay for around 3 years by juggling price increasesagainst VAT reductions and by anticipating rises and buying ahead. However,with the new delivery we now have to increase the price as from this Newsletter.We will order again before Christmas to yet again make a saving on nextyears increases. If you would like any special orders from Valentines, letSusan Van Valkenberg or Deborah Baynes know and we will do our best toget it for you.Please note that we no longer hold a stock of paper clay as ithas a short shelf-life.

We keep a mailing list of about 1500 names and addresses for Private Viewinvitations to our shows. We urgently need someone to take over thisimportant job in time for the Christmas show. The job involves updating the listafter each show, and mailing out invitations twice a year. If you're interestedand want to know more, contact Carolyn Postgate [email protected]

I am looking for a second hand blunger (about 35-50 gals) for a small Africanpottery. run by mostly disabled or disadvantaged pesons. I am happy to paycash. If anyone can help please get in touch. Visit my small website:www.ceramic-consultant.com and look for Kazuri Kenya. Any assistancewould be appreciated. Contact Mike Coventry [email protected]

AP MAILING LIST

CLAY STORES UPDATE

BLUNGER WANTED

Deborah Baynes

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DIARY DATES 2010:Bridget Drakeford:5 September, MundfordIckworth Wood Fair:9-10 October, Ickworth HouseSelected Members' Exhibition:9 October-7 NovemberHaddenham GalleryNewmarket Arts & Crafts Show:5-7 October, NewmarketChristine Hester Smith:17 October, MundfordChristmas Show:13 November-12 DecemberAll Saints Church, Cambridge

MEMBERSHIP FEES:Ordinary £27 (half year £15)Joint £45 for two people at thesame address – half year £25Institution £50 for a college orworkshop – half year £27(details on application to theMembership Secretary)Student £10 for full-timestudents of ceramics – proof ofstatus is required

ADVERTISING RATESPrice per issue, 4 issues a yearFull page w 18cm x h 26.8cm £60.00Half page w 18cm x h 13.4cm £30.00Third page w 18cm x h 8.8cm £20.002 column w 11.8cm x h 17.6cm £26.002 column w 11.8cm x h 8.8cm £13.001 column w 5.7cm x h 17.6cm £13.001 column w 5.7cm x h 8.8cm £6.50Leaflet inserts (300) £30.00

Copy dates:Spring Issue 1 FebruarySummer Issue 1 MayAutumn Issue 1 AugustWinter Issue 1 November

Copy to be supplied as .jpg, .tif, .pdfAdvertisements can be designed if textand pictures (minimum 300dpi) areprovided. Printed in full colour.

Contact Carolyn Postgate, Editore: [email protected]: 01954 211033

COPY DATE FOR THE

WINTER NEWSLETTER:1 NOVEMBER 2010FOR PUBLICATION BY:1 DECEMBER 2010

Kiln for SaleOlympic/Harrison Mayer

Top Loader35amps, 8.6 kw 4.7 cu ftinterior measurements:18in deep x 23in across

Furniture includes5 half shelves, plate shelves,

stilts etc.Good condition

£250 ovno. Contact Suetel: 01487 814453

HELP, PLEASEFor the last few years I have made small animal sculptures and cast them inbronze resin. I would like to know more about clay sculpting,fiiring and kiln management. I own an unused small second hand top loader.Do you have any members who would be willing to give me tuition? I wouldbe willing to pay. I live in Wymondham, Norfolk but am happy to travel.Contact Gina Hardy, email [email protected]

LONDON TO PARIS BY

TANDEM!

Congratulations to Harvey andBarbara Bradley for their greatachievement, completing theChristian Aid London to Pariscycle challenge on their tandem.