Readers of this blog will know that I have been thinking a lot about how I turn my pottery after throwing it on the wheel. Thrown pots often need the foot to be cleaned up and shaped afterwards, and the way potters do it is to let the pot harden off a bit (the jargon is, till leather-hard), turn it upside down on the revolving wheel and trim it with a sharp tool. Flat items – plates and bowls – must be finished like this. Taller objects – cups and jugs – don’t, but the effect of turning is more elegant than leaving the base as it comes off the wheel.
Most studio potters are ambivalent about turning. In the early days of studio pottery (the 1920s to the 1980s) there was a mystique about throwing, which was considered to impart “vitality” to the pot, and there were reservations about turning, whose effect was thought to be “mechanical”. Those ideas came in part from the reaction against industrial pottery, but they were also influenced by Bergson’s anti-rational, vitalist philosophy, which was was hugely popular in the second and third decades of the 20th century and which made “vital” the vogue word in art and art-criticism. Bergson is not mentioned in Emmanuel Cooper’s biography of Bernard Leach, but Leach’s colleague and mentor, Soetsu Yanagi, was certainly influenced by Bergson and it is clear from Leach’s writing that he was too.
The practice in Stoke of Trent from the late 18th century onward was to get the rough shape of the pot on the wheel, then to hand it over to the turner, who imparted the outside profile on a vertical lathe. This process was described well by George Myatt, an old thrower interviewed by Gordon Elliott, and it is illustrated in the 1935 film (top), which shows an amazingly proficient thrower forming a rough shape in under ten seconds, which is then put in a plaster mould and then turned on a lathe.
In the Stoke-on-Trent production process, the work of the turner was more important in making the final shape, and therefore contributing to its saleability, than that of the thrower, and I guess that he was more highly skilled therefore more highly paid.
My preference for throwing over turning, and that of most studio potters, comes partly from the fact that throwing is easier than turning. Good turning is immensely difficult. The skill of the craftsman in industry was, I believe, superior to those of the studio potter, and understandably so, because there was specialisation in the industry and everyone concentrated on his trade.