TONALÁ POTTERY

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I’m not a collector but sometimes I see something I like, and then I learn something new. I bought this pottery bird in a charity shop. I thought it had been made in continental Europe but after having it a few years I discovered it was Mexican, made in Tonalá, where handicrafts is the major industry (below) and where pottery has been made from  pre-Hispanic times.  The clay is burnished and not glazed and the brushwork is very delicate. The shape is particularly nice – other Tonalá birds are not as pretty.

 

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CRAFT MENTORING

 

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I’m co-ordinating the mentoring programme of the Society of Designer Craftsmen, which we run to help our new young members develop their professional careers, and as I don’t believe in reinventing the wheel I’m talking to organisations that run similar programmes. I’ve always worked this way, believing that standards are raised by sharing good practice.

So I was surprised to find that a few publicly-funded bodies were unwilling to talk to me. Their curt replies mean I can only guess why they are so unco-operative and my conclusion is that, now that such bodies regard themselves as businesses, some treat what they do not as a public service but as a commodity, and they treat other organisations doing the same thing not as colleagues but as competitors.

CERAMICS CO-OP, BERMONDSEY

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I visited Anna and Tatiana Baskakova (above) at the Ceramics Studio Co-op in Bermondsey on Wednesday to find out about their enterprise to support emerging potters. Although it’s their brainchild, the studio is a worker’s co-operative, owned and run by the artists who work in it, committed to the values of “self-help, self-responsibility, democracy, equality, equity and solidarity.”

They provide studio space for amateur and professional ceramists, run classes and offer a kiln firing service. Since The Great Pottery Throwdown there’s been plenty of demand for pottery classes and workshops. The co-op has eight resident artists including Anna and Tatiana. They started with a loan in 2014 , which they paid off this year, and they’ve had an Arts Council grant for kilns, but otherwise the co-op is a business and its expenses are covered by users’ fees. And being in an industrial area they can scavenge bits of kit from local skips – their tubs and buckets (which potters can never have too many of) were all got that way.

ceramic co-op

The Ceramics Studio Co-op is the new face of pottery training, offering flexible learning and open access studios. I wrote earlier about Turning Earth Studios and there’s also Clay College Stoke, formed by potters who were concerned about the potential loss of skills. These well-equipped ventures are emerging as university courses close, local authority classes price themselves out of the market and schools discontinue pottery under the pressure of exams and the national curriculum. They represent the growing enthusiasm for artisanal products and making by hand and a reaction to the retreat from the haptic to the screen. There was a recent article about lack of dexterity in surgical students who had had too much screen time, and an art teacher told me that new students didn’t know how to hold a pencil, didn’t think they had to draw and thought that it was enough to download pictures from the internet.

The Co-op, Turning Earth and Clay College are making pottery more accessible and I expect their success to generate more initiatives elsewhere. When I looked for training forty years ago it was difficult to find and quite rigid. There were a few potters offering apprenticeships, but they didn’t pay enough for the apprentice to live on, and there were a few degree and diploma courses. As the Craftmen Potters Association wrote at the time:

Anyone wishing to develop pottery skills to a professional standard has two choices: to enter a workshop direct as a trainee assistant, or to follow an art school course with a strong bias towards craft pottery. Many potters and students favour a combination of the two – a preliminary art school training followed by a period of workshop practice.

It was a huge leap from a leisure class to this sort of training and required a big commitment of time and money. The new ceramics training is more adaptable and responsive to the trainee’s needs. At the Ceramics Studio Co-op you can do a leisure class for fun, a more specialized course, or take studio space and progress to professional practice.

Ceramics Studio Co-op
Unit 17C
Juno Enterprise Centre
Juno Way
New Cross
London
SE14 5RW

020 8691 6421

LONDON DESIGN FESTIVAL

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As part of the London Design Festival, I’m exhibiting with London Potters at In Design@Battersea, in Battersea Power Station. Part of the riverside, where we are, has already been transformed, elsewhere it’s one of the largest building sites in London.

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My new work on show, In Design@Battersea

Grosvenor Arch, Circus West Village, Battersea Power Station, London SW1 8AH. Underground: Sloane Square. Easy pedestrian access from Chelsea Bridge.

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In Design@Battersea opening
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Grosvenor Arch

SOCIETY OF DESIGNER CRAFTSMEN (2)

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I’m delivering ceramics like this (above) this morning to “Hand of the Maker”, the Society of Designer Craftsmen‘s annual members’ exhibition, to be held this year for the first time at Chelsea College of Arts in John Islip Street, opposite Tate Britain. It opens on Friday, 13 July, and continues until 21 July.

I’m taking the opportunity to post a message from the SDC’s website about the refurbishment of our gallery and workspace in Rivington Street, a project that I’ve been involved with as a Trustee of the Society. I’ll continue to post news about the plan as it advances.

Fundraising for a Sustainable Future
“In our 130th year, the Society of Designer Craftsmen is excited to be working with Elliot Payne Architects to ensure the Society continues to be the success it is today. To help secure our future, we are currently fundraising to refurbish our headquarters in London’s vibrant Shoreditch to provide a members gallery for public exhibitions and creative spaces where members can meet clients and take part in workshops. If you wish to support us in this venture please contact chair@societyofdesignercraftsmen.org.uk.”

 

 

BEATNIK POTTERS

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BBC Radio recently broadcast an edition of Hancock’s Half Hour from 1959, The Poetry Society. Hancock has joined a bunch of poets, the East Cheam Cultural Progressive Society.

Hancock: “We sit on the old cardboard tombstones round the plastic coffins…and we indulge in philosophical analysis. We formulate our plans for our Brave New World; Gladys takes it down in her notebook and when she’s filled it up we’re going to publish it. We’re calling it “A Thesis on the Reconciliation of Homo-Sapiens in Relationship with his Natural Destiny and the Theory of Selective Evolution”.

Sid: What else do you do?

Hancock: Well, during the day we pursue our various artistic sidelines, some of us make pots and jugs. Then there’s Adelaide, she’s very good on the raffia-mats. Then there’s Percy and his Welsh bedspreads. Some of us paint, and sculpt…and the rest of us lie in bed, thinking.

I was amused to hear that Galton and Simpson identified the crafts with pretentious pseudo intellectuals, just after journalists had coined the term “beatnik” for the Beat with beret and goatee beard playing the bongos. Were studio potters really like that? Mick Casson, one of the founders of the recently-formed Craftsmen Potters Association, had a beard, but he was pretty straightforward and down to earth. Pottery students at Goldsmiths under Richard Dunning  in the 1950s looked quite conventional (below).

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But I do remember in bourgeois Stanmore in the late 1950s a couple of artists with a shop selling their jewellery and pottery, who did look like members of the East Stanmore Cultural Progressive Society, with beard and sandals, long hair and wooden beads, whom I greatly admired, so I suppose the Hancock stereotype was based on something.

 

VILLAGE UNDERGROUND, LISBON

On the way back from Belém and MAAT we looked in at Village Underground, a space in the dock area that has been taken over for a new cultural initiative using old containers and buses. It’s under the 25 April bridge and next to the converted warehouses used for creative industries and new businesses.

This is how they describe it:

“Village Underground (VU) is an international platform for culture and creativity, which was created in London in 2007 and reached Lisbon in 2014. It is also a coworking community and a creative events destination.

“Its unique architectural structure is made from shipping containers and double decker buses, recycled into office spaces, a restaurant and conference room.

“A landmark in the Lisbon landscape, Village Underground is home to a new creative community in the city.”

As it was Sunday there wasn’t much going on, but it was an attractive space and I was sorry not to see it in use.