Lets Talk Clay
Sat 27th - Sun 28th July 2024
Newington Green N5
So, how I got into Clay,
Ten years ago I was involved in the group exhibition ‘Between Thought and Space’ at Dilston
Grove, London. My piece consisted of 8 cubes of soil collected from all over the UK, many of
which contained different coloured clay. The material fascinated me, Clay is everywhere.
2020 Lockdown happened
Time to go back to basics, work with the Earth again and think about centring.
On 22nd March 2020 I collected a potters kick wheel. Struggling to unload it. A stranger came to
my assistance, helping me carry it over the road, taking out a bay window and positioning the
wheel in the studio. Chatting afterwards he said “if you're really interested in Clay you should look
up the wood firing courses in Devon being run by Nic Collins and Sabine Nemet.” A seed was
planted.
Every day, for the next year, I threw only cylinders. Whilst demanding a bit more physical effort,
kick wheels are based in traditional pottery methods requiring manual operation, I liked the idea
of using my whole body to centre the Clay.
Working with Clay resonates strongly with all my practices - Exploration, Process’, Construction,
Performance. It also has a particularly close affinity to Drawing, constantly allowing one to add
and takeaway. The more familiar I become with Clay the more spontaneous and direct I
endeavour to be.
All the pieces in ‘Let’s Talk Clay’ have been through the same unpredictable wood firing. Nic &
Sabine’s two kilns were fired in 4 hour shifts by 12 artists and potters working in pairs, 24/7, over
the course of a week in May 2024.
The SODA kiln was fed with wood, the temperature being increased gradually over 2 days,
culminating in a soda solution being sprayed into the kiln, producing a glaze on the pieces.
The TUNNEL kiln also systematically fired with wood burnt at one end with a chimney at the back
forcing the flames to travel though a ‘tunnel’. The fire interacts with the pieces along the way,
leaving burn marks and depositing ash. The temperature is increased over 4 days.
Wood fired work often relies solely on the glazing produced by wood ash and the markings from
the flames. As the temperature begins to rise the flame travels though the kiln relentlessly seeking
oxygen, bringing colours and effects to the surface of the works in its path.
I made my own clay bodies by mixing clays and other materials - looking for as much surface
variety as possible. I also made up glazes, applying them to some pieces before they entered the
kilns.
A chance encounter started my journey - four years on ‘Let’s Talk Clay’ showcases some of these
wood fired pieces for reflection and review and crucially encouraging conversation.
Ten years ago I was involved in the group exhibition ‘Between Thought and Space’ at Dilston
Grove, London. My piece consisted of 8 cubes of soil collected from all over the UK, many of
which contained different coloured clay. The material fascinated me, Clay is everywhere.
2020 Lockdown happened
Time to go back to basics, work with the Earth again and think about centring.
On 22nd March 2020 I collected a potters kick wheel. Struggling to unload it. A stranger came to
my assistance, helping me carry it over the road, taking out a bay window and positioning the
wheel in the studio. Chatting afterwards he said “if you're really interested in Clay you should look
up the wood firing courses in Devon being run by Nic Collins and Sabine Nemet.” A seed was
planted.
Every day, for the next year, I threw only cylinders. Whilst demanding a bit more physical effort,
kick wheels are based in traditional pottery methods requiring manual operation, I liked the idea
of using my whole body to centre the Clay.
Working with Clay resonates strongly with all my practices - Exploration, Process’, Construction,
Performance. It also has a particularly close affinity to Drawing, constantly allowing one to add
and takeaway. The more familiar I become with Clay the more spontaneous and direct I
endeavour to be.
All the pieces in ‘Let’s Talk Clay’ have been through the same unpredictable wood firing. Nic &
Sabine’s two kilns were fired in 4 hour shifts by 12 artists and potters working in pairs, 24/7, over
the course of a week in May 2024.
The SODA kiln was fed with wood, the temperature being increased gradually over 2 days,
culminating in a soda solution being sprayed into the kiln, producing a glaze on the pieces.
The TUNNEL kiln also systematically fired with wood burnt at one end with a chimney at the back
forcing the flames to travel though a ‘tunnel’. The fire interacts with the pieces along the way,
leaving burn marks and depositing ash. The temperature is increased over 4 days.
Wood fired work often relies solely on the glazing produced by wood ash and the markings from
the flames. As the temperature begins to rise the flame travels though the kiln relentlessly seeking
oxygen, bringing colours and effects to the surface of the works in its path.
I made my own clay bodies by mixing clays and other materials - looking for as much surface
variety as possible. I also made up glazes, applying them to some pieces before they entered the
kilns.
A chance encounter started my journey - four years on ‘Let’s Talk Clay’ showcases some of these
wood fired pieces for reflection and review and crucially encouraging conversation.
