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.
The scaffolding on the Glasgow School of Art indicated that it would be improved beyond its condition when fire struck in 2014. Now another fire has undone the painstaking restoration of the last three years.
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 … Continue reading BEATNIK POTTERS
I mentioned Sophie Conran's Pebble range of tableware in my last post and thought I'd say a bit more about it. It has been a popular range over a long period and says a lot about attitudes to handmade and factory-made pottery. It is factory-made, but with its wonky shapes and ridges it looks as … Continue reading SOPHIE CONRAN TABLEWARE
I went to see the Fitzwilliam exhibition Things of Beauty Growing: British Studio Pottery for the second time. One of the changes that has taken place in studio pottery in the years since I first became interested in it is that it has become a topic of academic study, a fact regretted by the more … Continue reading THINGS OF BEAUTY GROWING
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 … Continue reading TURNING
Much of the history of European ceramics is the attempt to imitate Chinese porcelain. The Ottoman Turks covered buff clay with white slip and a clear glaze. The Moors brought opaque white tin glaze into Spain, from where it spread to Italy, the Netherlands, central Europe and England. Meanwhile, there were experiments in porcelain, adding … Continue reading WEDGWOOD’S CREAMWARE