Firing on all cylinders!

Tim's Kiln - on holiday in Harrold

Tim's Kiln - on holiday in Harrold

I have some wonderful news to share. My very generous friend Tim Bartell has loaned me a spare electric kiln. I cannot tell you the difference this has made to my life!

My attitude towards experimenting and the quality of my work and increased in the space of a week, knowing I have the right equipment on hand to play, tweak, play some more and fire.

I’m so excited and full of enthusiam – and was actually sat at the wheel at 7.20 this morning!

There are so many variables in ceramics. One can spend a lifetime trying to tame one particular glaze, clay body or firing method. The kind gesture of Tim has meant I can finally focus, without the worry of other considerations – those I used to share a kiln with, or the school syllabus and demands on a kiln and can now concentrate on using this equipment to showcase my ideas and skills.

Two slipware plates

Two slipware plates

I’ve been firing and refiring work, my focus being the Childwickbury Arts Fair taking place in July. I’m determined not to be firing at the last minute and will be proud to showcase this new body of work with natural tones and hues taken from the very countryside I gathered the clay from.

The browns, golden umbers, whites, creams, honey yellows and greens all document the landscape and provide a palette of simplicity – an ideal backdrop for displaying that new recipe you wanted to try!

Check out the work in progress on Flickr

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May news flash!

I’m super busy at the moment, working on completing my AA2A Residency and also building a collection of functional slipware for forthcoming summer events.

I’m really pleased with the initial results fresh from the kiln, so am building on these colours and glazes, incorporating local clays and slips from Hertfordshire, Bedfordshire, Kentish Town in Central London and Dorset.

Anyway, here’s a quick sneak preview of some of the pieces taken from my Instagram photos

Finally, another piece of news is that I have been selected for another Residency! It will be at St Francis’ College in Letchworth for 12-18 months. I’ll write more about this when I get a moment to explain how I’ll be involved with the Art Department and how I plan to use the opportunity.

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Stiffkey Marshes – an installation

Curious walkers may have noticed an invasion of small bottles on the Stiffkey Marshes over the May Bank Holiday weekend.

Continuing my project to create pots which have been shaped by the changing tides, I took my chance to secure a number of bottles in the flow of the tidal creek. The weather was glorious and I embraced the opportunity to retreat to the marshes, a relaxing place to enjoy the lapping of the sea against the small boats and the chattering oyster catchers whilst contemplating the direction of my work.

Can you spot the pottery lurking in Stiffkey Marshes?

Can you spot the pottery lurking in Stiffkey Marshes?

I decided on Stiffkey Marshes as the first place to secure my pottery, not just for its tidal location, but more so because it is relatively quiet and unknown, in comparison to a pier at a popular seaside resort.

Once I had tested the strength of the fishing line I was using to attach my pots to a concrete structure, my main concern was that once discovered, someone may decide to take the pot and give it a new home.

I’ve agonised over leaving these pots to fend for themselves, as it really does feel like I’m abandoning a small part of myself. Only this morning I realised I was focusing too much on the final piece, and Art is a fabulous vehicle to encourage people to think differently about their world.

A shy pot, hiding from public gaze on Stiffkey Marshes

A shy pot, hiding from public gaze on Stiffkey Marshes

After accepting this, I am now able to view the entire project as an installation, an exhibition of sorts in situ. A big philosophy behind my work is to slow people down and encourage them to notice the beauty of Nature, the subtle changes, the wonderful processes which go on irregardless of the minutia of our own lives. By providing a clay canvas to draw attention to this, and provide a point of interest perhaps on someone’s walk through the marshes, then maybe this can be achieved and I shouldn’t be shying from the public eye.

The closest comparison I can think of is the recent explosion of yarn bombing, even as close to home as Bedford, with a Bedford Creative Arts project,  so perhaps what I’m trying to do isn’t so different.

If someone wants to take one of the bottles, then that is a compliment – obviously it is annoying, as I am trying to make a living from this, but maybe they will Google their find, which leads me on to my next point.

I’m going to produce some ‘dogtags’ which will display the web address of this blog, so if people do come across my work and wonder what it is, by having a website address imprinted into clay, I hope this will feed their curiosity, without the need to take the work home. And if they do, it doesn’t matter. I can make more, and perhaps their story of discovering an abandoned piece of pottery will create some fascination in what I’m trying to do.

Only today when I went back to Stiffkey to retrieve the pots before heading home, I had the realisation that the pottery is already in an exhibition. Okay, it doesn’t carry the prestige of a Gallery, but it can be viewed at low tide, and the natural processes I’m working with are dynamic and exciting, and far more interactive than a bright, clean, dry gallery space.

You can see the work in progress in beautiful surroundings…and stop for a tasty crab lunch at the newly refurbished Three Swallows in Cley, like I did today!

So I didn’t collect the pots. They’re still there and I invite you to go and find them…

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First pots to be fired in Bedford

If only my cupboards were this tidy

If only my cupboards were this tidy

Yesterday afternoon I stopped by the local school who have kindly allowed me fire my work in their kiln.

This load includes around 16 slip trailed plates which I’ll be experimenting with amber and honey glazes. I’m stopping by again on Monday to unpack, glaze and reload and can hardly wait.

Before I fell asleep last night, it was nice to know my work was cooking a little closer to home – not the usual 50 miles away I’ve been used to.

I’m so thankful for this opportunity as it will mean not having to travel so far to fire my work, and it’s also going to be interesting to see what the children are producing in the Art Department.

Despite making lots of pots recently, it’s been quite some time since I held a finished piece in my hands, so next week will be exciting…

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New firing arrangements

Since making the decision to leave Digswell Arts Trust, I’ve been lucky enough to find somewhere much closer to home to fire my work. After getting in touch with a local school, they have very kindly allowed me to use their kiln.

I think this might actually be the first firing of 2013, looking at all the work I found lurking in the shed. I’ve been holding out to get a kiln load together, to make the firing worthwhile. As it’s been really cold recently, I’ve perhaps not produced the usual volume of work, but the time has arrived to bake these pots!

You can see there’s quite a variety of work here including slip trailing, paper resists and a few experiments with local clay slip. I’m really excited to see how these pots will fire, and look forward to finishing them with a honey glaze.

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The turning tide

Aside from the functional pottery I’ve been developing, an ongoing project of mine has been to place ceramics in a tidal zone to work with the natural force of the sea to alter the surface of a series of pots.

For some time, I have been looking for a suitable location to tether some ceramic pieces. This needs to be secluded enough not to draw attention from the public, but also provide maximum exposure to the forces of tides to actually shape the ceramic surface.

Over the Easter weekend, I headed to the North Norfolk coast visiting family and spent a wonderful afternoon scouting for potential coastal locations under a beautiful blue sky – and not before time!

The best location I discovered is shown above – a quiet creek, not too far from the main sea which is obviously tidal. It is particularly suitable given the number of structures available to tether my ceramics to – old wooden posts, a rickerty jetty, eroding concrete structures and other unrecognisable protrusions!

I strung a collection of angular, textured test pieces on a length of strong fishing line. These were attached to a concrete structure and left for 24 hours – long enough to experience two high tides, or four passages of water rushing past. These small pieces had only been fired to a low temperature, in the hope that the clay had not yet become hard pottery and therefore be able to show signs of erosion.

It was my intention that the tide would will gradually erode and smooth the surface of my work as seen in a piece of sea glass, or bits of gnarled driftwood washed on the beach. Before returning to collect these pieces, I was very nervous, partly expecting them to have either disintegrated, smashed or washed away, but I’m thrilled to report that the ceramic shards were all there, and showing signs of smoothing!

So the next stage will be to repeat the experiment but leave it for slightly longer, perhaps for 5 days, which would mean exposure to 10 tides, or water rushing by the site 20 times. Once happy with the site and duration of exposure, I will upscale to actual bottles and begin what promises to be a fun project over the summer.

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Ceramics Workshop

Last week I ran a workshop for the students at North Herts College as part of my AA2A Residency. The session was based on using Nature in Ceramics where I showcased some of the pieces I have made using natural materials, before letting them have a go at making their own tiles and small vessels.

Above are some of the tile designs I based the session on, having made these a few summers ago. These formed the basis for the student session, showing them the extent to which intricate patterns can be created by using materials already available for free in the natural environment. You can see more of the collection by looking at my Flickr album, or reading this earlier blog post.

Making tiles impressed with plants was not ideal in a frosty March, as I needed to be imaginative in sourcing vegetation! However, using dried fern leaves, poppy heads, shells, wheat and even lentils, the students were able to produce a great range of work.

What’s great news is that my images of the workshop were selected for the AA2A Pic of the Week! You can take a look at the full set of student work on the AA2A website. I’m pleased that everyone got stuck in with making their tiles, especially those who said they had never worked with clay before.

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Snowy slip trailing

Slip trailed plate

Slip trailed plate

Since last summer, my sketchbook has been filling up with scribbles and drawings of cow parsley. There’s something about their umbles which I find lend themselves really well to surface decoration.

Transferring this design by slip trailing, the movement of the application with sweeping stalks and loping fronds is something I can’t wait to build upon…as soon as I don’t have to wear gloves!

However, until the Spring arrives, and with it the cow parsley, I’m going to have to be patient. There’s a portcullis of icicles over the pottery shed door and a piercing draft whirling round my wheel, so I’m turning my attentions to other artistic pursuits I can enjoy in front of the fire.

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Recent photos from my residency

I’ve been enjoying sloshing slip around at North Herts College these past few weeks as part of my AA2A residency. Working in a different environment, using other people’s tools and being able to separate myself from my usual routine has enabled me to experiment with some ideas that have been brewing for a while.

Since I started my pottery adventure, I feel most comfortable working with earthenware and local clays. Slipware particularly appeals to me due to its place in the English pottery tradition, and the fluid, almost naive decoration. This requires confidence, fluidity and grace – something I’m going to have to master.

As I have explained here before, I delight in incorporating my immediate surroundings into my pottery. By digging and working local clay, imprinting pots with plants that grow outside the workshop and by involving a variety of natural materials in the firing process, I strive to celebrate those natural materials and cycles occurring locally. Through the use of wild materials and forms in my work, my pottery is grounded in a distinct season and place, giving a strong connection to the English countryside.

Some of the slips I have been using are formed by the countryside itself – clays gathered from local farmland will play a part in surface decoration of my work.

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More photos of my big ones…

Here a few more photos of my big pots, taken by my new pottery friend, the lovely Joel van Cranenbroeck who was also doing the Throwing Large course last weekend.

Birthday pot

Birthday pot

Finishing off another big boy!

Finishing off another big boy!

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What a whopper!

Size isn't everything, but I'm very proud of myself

Size isn't everything, but I'm very proud of myself

Check out this big boy I made down in Devon last week!

I decided to do Nic Collins’ throwing large course to learn some new techniques for making larger pots. It was also my birthday whilst down there, so I felt thoroughly spoiled whilst making pots. Perfect.

Coming back from Devon marks the start of a new chapter for me. Equipped with new skills, I’m starting out on an unknown stage of my journey, deciding to move on from Digswell Arts Trust.

I was awarded my fellowship back in November 2010, when I was still living in London and working full time in a ‘proper job’.

During my Fellowship, I’ve been able to experiment with styles, try out a host of firing techniques aside from the usual electric kiln, such as gas, raku and smoke firing with sawdust. I’ve worked with raw local clay, straight from the ground and also had a great time being part of an artist community, contributing to Open Studios.

Since moving further north, travelling such a distance has become increasingly difficult, and as my own studio in our outbuilding is gradually starting to take shape, I’ve taken the decision to strike out on my own.

Living in a thatched cottage, having my own kiln is simply not a possibility, (my insurance company will be pleased to hear). As I used to fire my work at Digswell Arts Trust, I’ve been looking for alternative places I can cook my pots and have been lucky enough to find a local school equipped with a kiln. I’ll be firing my work much closer to home, and hope to get involved with a couple of classes.

Phwoar

Phwoar

Working as Artist in Residence at North Hertfordshire College until the summer will also provide me with facilities and the chance to get involved with supporting the students. Over the next few months I’ll be providing a couple of workshops, lectures and seminars so I see a busy, yet focused few weeks ahead of me – just as I like it.

Not sure if I’ll have much time for blogging, but I just wanted to update you with what I’m up to…well, let’s be honest- boast about my tall pots :P

All that remains for me to do now is smuggle a canister of propane into the shed and get to work making more of these big boys!

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Braving the elements today

Earthenware platter with leaf design

Earthenware platter with leaf design

A 12 inch plate I threw today as soon as the sun came out. I’m confident that Spring is just around the corner, given the bright blue sky today, and my daffodils reaching towards the sun. I’m looking forward to the hedgerow greenery showing itself so I can develop some new seasonal paper resist designs.

(Seeing my pottery wheel here, I had no idea how filthy it’s getting.)

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More paper resist designs

My work this week is to throw a number of plates and experiment with more paper resist designs. It’s been so bitterly cold out in the shed that I’ve only managed two so far!

It’s been much more comforting to sit inside and work on ideas in my sketchbook and cut out my trademark leaf designs. These resists will be used on red, terracotta clay which will then be layered with a variety of slips then honey glazes, which should make a lovely compliment to the earthenware clay. Until things get a bit warmer, I’m stuck at this stage of the process…

Paper resist designs

Paper resist designs

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Where the magic happens

I found this photo of the cottage last Spring. After a bitter day out in the pottery shed, I thought I’d share it here, in hope that the bonny daffodils and sunshine would drive away the sleet and chilly temperatures!

It’s amazing how long pottery takes to dry at this time of year, but it’s something I find fascinating. When I used to work in London, the changing seasons simply related to my wardrobe, but now I have to respond accordingly to the conditions outside, as they feed directly into my methods and materials.

I saw a few snowdrops and aconites at the weekend, so fingers crossed the green leaf shoots of the hedgerow won’t be too far behind!

Caleb's Cottage - where the magic happens

Caleb's Cottage - where the magic happens

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Plans for 2013

Icicles on my thatch

Icicles on my thatch

Gosh, is this really my first post of the year? When you consider how cold it has been recently, perhaps you will forgive me for not braving the arctic conditions in my outbuilding!

Here’s a photo taken out of my front window about two weeks ago. The icicles growing from the thatched roof were over two feet long, forming a deadly portcullis for anyone walking beneath. Venturing out to the shed to reclaim clay and throw pots was just more than I could bear.

However, this break from making allowed some much needed thinking time to reflect on my work, think about where my pottery is right now, and where I’d like to be heading in 2013.

Actually stopping and thinking about my pottery has been a valuable experience. I’ve been working on producing pieces for specific events and exhibitions these past few years, but to actually be free of deadlines and expectations has allowed me to clearly assess where I’m heading, and if indeed that is where I want to be.

A big project that rumbles on is my underwater pottery experiment. Much of the work I’m undertaking forms my AA2A residency at North Herts College. This is very much a long term project, coming from much more of an artistic direction.

My ambition for 2013 is to form more of a distinction between this experimental, art-led work and the more functional, craft based pottery I produce. Working with clay can mean facing an identity crisis, trying to evaluate whether my practice is indeed art or craft, or perhaps straddles both.

I decided that PotsPotsPots will form that functional range of pots, and I will be following those more artistic projects under my own name. It has taken me some time to arrive at this conclusion, but I think that it was a necessary process every potter needs to go through. It is unfeasible to try and be ‘all things to all men’, but at least this way, I can serve those customers who so enjoy my functional pieces, without feeling like I am neglecting my own artistic identity and ideas.

Small lidded jar with leaf motif (to be fired)

Small lidded jar with leaf motif (to be fired)

So, in conclusion, here’s a snap of some of those functional pieces I’m currently developing.

This initial set of lidded jars have been  thrown using a mixture of earthenware and local clay, then covered in a layer of slip using one of my own hand drawn designs as a stencil.

Looking at these spirited shoots, I’m obviously willing the new growth of spring to hurry up and start!

More photos to follow once fired and I’ve developed the range of functional pots.

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High tides expected

With a series of high tides expected over the Christmas period, it’s the perfect opportunity to begin the next stage of a project I’ve been working on.

I’m captivated by the ever-changing nature of the sea, especially those strange, reinvented objects one finds scattered along the tide line that Nature has handed back to us.

I will be placing low-fired ceramic objects in this tidal zone, working with the forces of nature to alter the surface of clay and demonstrate those fragments of everyday activities are unrecognisable and insignificant when compared to the power of natural forces.

Stage One - The Shipping Forecast

Stage One - The Shipping Forecast

An everyday piece of text or narrative that anyone working on the sea will be familiar with is the Shipping Forecast, broadcast everyday on BBC Radio 4, and has something of a cult following with insomniacs.

These fragments, screen printed then applied to hand made pebbles will be the first objects to sit beneath the waves and experience the full force of the winter tides.

I’m particularly interested to see how this technique will work, so selecting something as generic as the Shipping Forecast will be a fun way of seeing whether the sea decides to erode some of the words, and in doing so, reinvent their meaning.

I’m starting on a small scale, as there will be a lot of experimentation taking place as I try to discover the best clays, textures, firing temperatures and methods of securing the pottery before expanding the idea to a much larger piece of artwork.

These handmade pebbles, along with a collection of textures objects will form the first stage in my quest to work with the sea to gradually erode and smooth the surface of my work, just like  a piece of sea glass, or bits of gnarled driftwood washed on the beach.

I am in awe of the journey that these objects have taken and the mysterious underwater forces that have acted on them. By providing a clay canvas to highlight these watery forces and natural cycles, I will work directly with Nature to produce a body of work.

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Starting my AA2A residency

Last Friday I began my residency at North Hertfordshire College in Hitchin. The AA2A scheme gives artists access to college art department facilities, in exchange for the students having the opportunity to work alongside a practicing artist.

The opportunity means so much more to me than just access to the department. I’m thrilled to be out and about amongst people again, as I find life as a potter, or for any artist can be a solitary pursuit.

Of course this can be good, when inspiration calls it is wonderful to be able to disappear out in the shed where my only company is my wheel and overhearing the lads in the garage over the back complaining about Major’s ‘terrible arse’. (Major is a dog, from what I can gather.)

This setup can also be quite isolating at times, (despite learning a whole new vocabulary of rude words) when it can become very easy to retreat into my own little world. I have to work hard to maintain those little social interactions I used to take for granted when I worked in an office. For that reason, I’m going to grasp my residency with both hands.

The first pots of my residency!

The first pots of my residency!

Here’s a photo of a series of cylinders I threw on my first day last week. I thought this would be a useful project to familiarise myself with a different potters wheel, and also provide me with a canvas to trial screen printing. This will be tomorrows activity, hopefully to create the screen and begin applying text to these pots.

Typically, I’m a traditional potter, concerned with form and function but as this next body of work will be heading beneath the waves, I’m really interested in applying culturally significant text and seeing how this is eroded, much like those fragments of ephemera in our everyday life which pass away with time.

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In the bleak mid winter

A big thank you to everyone who stopped by my stall at Childwickbury Christmas Market at the end of November. It was great to chat to so many people, and thanks to those of you who have given some pottery a new home – I hope you’ll be very happy together!

Also I want to thank the organisers for managing such a successful event, and most of all my sister who helped me get my work together on the Friday without me slipping into my usual faffing mode!

So with my final event of 2012 behind me, and just a few orders to sort out before Christmas, I can now let my mind wander to 2013 and start thinking about a few themes and styles I am looking forward to working on.

I’m most excited about working with the local clay I’ve been collecting from a variety of sources. After a series of tests, I’ve developed a mix of terracotta and local clay which is working really well. I trialed a collection of bowls made from this material with a traditional honey glaze, reflecting our very English slipware tradition. I’m pleased to say I sold all but two of these pieces, so it is my plan to expand this range, explore slipware and take inspiration from some even older pottery that was produced from local clay in Harrold, back in the 3rd and 4th centuries AD.

Bowls made from local Hertfordshire clay

Bowls made from local Hertfordshire clay

So it’s off out to the shed to throw what will probably be some of the final pieces of 2012. It’s bitterly cold out there, and unfortunately gloves and making pottery don’t really work well together! Still, I’ll crank up the radio, boil the kettle and think of those Roman potters who were working like me, not half a mile from here, but without the luxury of popping indoors for a nice cuppa and enjoying the central heating!

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Childwickbury Christmas Market this weekend!

Childwickbury Christmas Market 2012

Childwickbury Christmas Market 2012

This is the reason for my absence from this blog and Facebook recently – lots of throwing, glazing and preparations for this coming weekend. It’s my favourite event of the year – lots of festive atmosphere to get you into the Christmas spirit. And, no, it’s not too early!

Tasty treats and plenty of unique gift ideas. Dare to step away from the high street this year and support local craftspeople :)

I’ll be selling lots of pottery gifts for the kitchen, my pierced lanterns, handmade tree decorations and ceramic stocking fillers.

I put a lot of effort into my last stall at Luton Hoo Walled Garden as part of their Pumpkin and Apple Gala. As so much of my work is inspired by the changing seasons, the least I can do is reflect this in my display. A snap from my last stall is below, but you can look forward to a frosty hedgerow display this weekend. Hope to see you there!

Posted in Events - exhibitions and fairs, Seasonal change | 1 Comment

Latest lantern

This clay lantern is now ready to be biscuit fired. It was a pain staking process of pricking and prodding using a variety of wooden tools, but I’m really pleased with patterning over the entire form. The illumination is spectacular with a candle inside. Once fired, I’ll share a photo of it in a dark corner as the patterns are well worth the effort!

Handmade ceramic lantern

Handmade ceramic lantern

Posted in Latest from the pottery workshop, Surface decoration | 3 Comments

Autumnal Pottery Stall

At the weekend I was at the Luton Hoo Walled Garden Pumpkin and Apple Gala. I thought I would share a few photos of my stall, given that I was setting it up at 7am!

With every event I do, I always try and improve on my previous stall layout. When I first began setting up my work on a stall a year ago, I found it to be quite an intimidating experience, but I quickly learned that in order to do justice to the pottery I had lovingly created, a little thought and effort into the layout would pay off.

This was the first time I experimented with a ‘theme’, and given this was a very autumnal pumkin and apple event, I went to town with warm reds and fading greens by using fallen leaves and juicy apples. I think this worked well with the shino and celadon glazes which dominate in my work.

There’s plenty of helpful advice online if you are doing this for the first time, and it’s really worth spending a little time thinking about how you can best show off your work to attract people to your stall. I must warn you though, once set up, I always have to spend a further couple of hours generally faffing around, arranging and rearranging until I am happy.

Posted in Events - exhibitions and fairs | 4 Comments

Artist in Residence at North Hertfordshire College

Great news! I’ve been successful in my application for the Artists Access to Art Colleges (AA2A) scheme and can actually call myself an artist in residence!

The AA2A project provides placements for visual artists and designer makers in Higher and Further Education institutions across England. I’ve been awarded one of 132 placements offered nationally to undertake a period of research or realise a project. I’ll be based at North Hertfordshire College Centre for the Arts in Hitchin.

This means I can look forward to 100 hours of studio time, a materials budget and use of the College’s excellent facilities, whilst working alongside the students and sharing my experience with them.

I really can’t wait to begin my placement in a few weeks time, being part of a learning community again and getting stuck into my project – details of which will emerge soon!

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Pumpkin and Apple Gala

Source - Luton Hoo Walled Garden : Pumpkin & Apple Gala 2011

Source - Luton Hoo Walled Garden : Pumpkin & Apple Gala 2011

On Saturday 13th October I will be taking part in the Luton Hoo Walled Garden annual event – the Pumpkin and Apple Gala.

It’s a great family day out in a beautiful setting. There will be plenty of children’s activities, a local food and drink fair, hog roast, cider tent, plants and produce for sale, Halloween pumpkins and of course artisan crafts. Please come along and celebrate the coming of Autumn.

I recently wrote about the history of the garden, and how excited I am to be invited to take part in this event. Here follows the flyer for all the details, or you can visit the Luton Hoo Walled Garden website.

Luton Hoo Walled Garden Pumpkin and Apple Gala

Luton Hoo Walled Garden Pumpkin and Apple Gala

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Ash to ashes

With Autumn pretty much upon us, this heralds the arrival of an exciting activity – time to tidy your garden, plant your daffodils for next spring, and of course begin the endless task of sweeping up dead leaves.

Okay, it doesn’t sound that interesting but what better way of getting rid of all of this dead vegetation than a bonfire?! This, of course, means a ready supply of ash, perfect for us potters to make glazes from.

I love the effects of ash on pottery, and it is the very unpredictable nature of working with these glazes which makes it so exciting.

It’s one thing to collect your own ash from the fireplace, but you will typically only get 1% ash from a volume of wood burnt, and this ash must be from pure wood, rather than contaminated with coal, or other impurities. Over an entire winter, I only managed to gather an ice cream tub of ash last year, so you can imagine my delight when I came upon this on a walk in Harrold Country Park last weekend…

Look what I found!

Look what I found!

Living in a thatched cottage, a bonfire is pretty much out of the question in my small courtyard, but given the number of bonfires that will inevitably be lit in the management of the Country Park over the coming months, I think I’m going to need a few more buckets ;)

I think the ash I have collected is actually from ash trees, so it will be interesting to see what the results will be like. Last year’s wood came from a variety of sources, including hedgerows, bannisters and awful furniture left behind by the previous owners of our cottage. I’m hoping this years hoard should be from a slightly more controlled source.

We’re planning on firing up the gas kiln at the Farmhouse in the next few weeks so I can test these samples in a reduction atmosphere. No doubt I’ll be waffling on about the results here!

Posted in Glazing experiments, Seasonal change | 1 Comment

Open Studios 22nd – 23rd September 2012

We will be opening the doors of Fairlands Valley Farmhouse again this weekend to welcome the public into our workspaces for the annual Open Studios event, happening across Hertfordshire throughout September.

I’m one of eleven artists with workspace in a beautiful seventeenth century building, leased by Digswell Arts Trust. Come along and see my work, learn more about my inspirations and see where the magic happens in the kilns!

Relaxing last weekend outside the studio (Photo Martin Stewart)

Relaxing last weekend outside the studio (Photo Martin Stewart)

Last Friday, we began Open Studios with a private view, welcoming many people through the doors for a glass of wine and an exclusive view of our work. For two weekends, the Farmhouse will be open for you to explore our studios and learn more about Digswell Arts Trust.

Take a peek at the wide range of artwork being created in this historical building again this weekend before enjoying a well earned cup of tea and some homemade cake.

We’ll be opening the doors again, 22nd – 23rd September 2012 from 11am till 4pm.

Find out more about the individual Farmhouse artists on the Digswell Arts Trust website.

How to find Fairlands Valley Farmhouse

View on Google maps

Fairlands Valley Farm
Fairlands Way
Stevenage
Herts. SG1 1NU
Tel: 01438 315454

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