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.

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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 art teacher told me that new students didn’t know how to hold a pencil 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

A HOUSE IN FRANCE

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We stayed for a few days with our friends in France, where they have an old farmhouse well away from town in a peaceful spot with roses and fruit trees. In the sweltering heat we preferred to stay indoors, protected by two-foot walls, but the evenings were pleasant in the garden under the vines.

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Over the years they have built an eclectic collection of china and pottery, for use and ornament, found in antique shops and brocante stalls, and generally bought for a few euros. Here are some pictures, and also pictures of other items from their cabinet of curiosities.

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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.”

 

 

VOLTAGE DIP

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As my kiln is very big, I bought a tiny kiln like this for glaze tests. It’s even useful for small items, for example, when I had a commission for a bowl from St Albans Cathedral and didn’t want to wait till the big kiln was full.

I’ve been working furiously for shows over the summer, making use of both kilns, and the other day the little kiln mysteriously turned itself off in the middle of a firing and the big kiln went slow.

James Otter of Potclays, who made the small kiln, suggested numerous possible reasons for the failure, but none seemed to apply. Then, prompted by the fact that both kilns failed at once, he suggested voltage dip, a temporary reduction in the power supply. I’d never heard of voltage dip before and it’s not something that troubles the domestic consumer much, but firing the little kiln again and finding that everything was back to normal suggested that it was indeed the reason for its stalling in the first place, perhaps precipitated by heavy consumption during the heatwave

GLASGOW ART SCHOOL

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A doorplate I photographed at GSoA in 2006.

When we were in Glasgow last week, the scaffolding on the art school obscured most of the Mackintosh building but indicated that it would soon be re-opened, improved beyond its condition when fire struck in 2014. Now comes the shocking news that another fire has damaged the building, undoing most of the painstaking restoration of the last three years.

The cause of the fire in not known yet. The 2014 fire was caused by gases from a canister used in a student project. (The Harrow art school fire at the University of Westminster in 2007 was also said to be caused by the ignition of materials used in a student project.) Will there be funds for another restoration?  I hope so: the Mackintosh building is Grade A listed and an important part of Scottish heritage.

Glasgow was one of the first British government art schools to teach pottery. In 1893 the school opened its Technical Art Studios, teaching stained glass, needlework, bookbinding, painting on china, and metalwork. The chairman of governors was James Fleming, a pottery manufaturer.

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.