As is evidenced by my original choice of studio title, SloweStudio (it’s not just about getting my name in there), things don’t always move quickly round here. Currently I can spend up to eight hours a week (six since the start of 2016) at Glyn’s pottery studio at Brunswick Village which allows me use of a wheel and access to the big kilns and Glyn’s expertise, but it’s only open on certain days of the week and I’m not in control over when firings take place. Despite these limitations, and perhaps because I only have set times at which I can work, my motivation and enthusiasm are always high and that pushes me to be more productive.
Things are moving at a more glacial speed at home however, as it’s taking longer than anticipated to set up a practical pottery space. I got my hands on an old working kiln a few months ago, along with a similarly aged potter’s wheel almost identical to the one I use at Glyn’s pottery, and which no one else seems to like using besides myself. The wheel needed some tlc to stop the horrendous grinding noise that would start the moment you switched it on, but luckily having an engineer for a Father meant that was an easy problem to solve as he loves tinkering with equipment.
I think this wheel is probably the same age as me, and likely to continue working for at least as long. Taking it apart provided a glimpse into the inner workings of the machine, which included the massive flywheel that the wheel head is perched on, and is the basis for just about every potter’s wheel throughout history.
This also means it’s a heavy piece of machinery, and not one I want to have to move around with any great frequency. It’s currently sitting in the one warm section of the barn, having finally been hooked up to a power source and waiting to be put to work.
Great! One wheel, one kiln sorted. What else do I need? Well some marine ply batts to throw pots on would be useful, shelving to store the drying pots until they can be turned, some turning tools for shaping the pot bases, oh and a water supply would be quite handy. Right now if I want to throw pots at home I need to lug a bucket of water from the tap outside. Strength training through pottery…
Then there’s glazing. Yes I have a kiln, though I do need to buy some shelf props unless I only intend to make large vessels that make kiln shelves unnecessary, but it’s the glazing materials that start hiking the cost. I pay a monthly fee at the Thomas Ross pottery that covers use of the machines and all materials used. The only extra fee I have is whatever comes out of the kiln, which is a basic rate per pound of glazed pottery. It’s a very good deal to be honest, plus you have Glyn regularly telling you where you’re going wrong in his no nonsense Yorkshire way. There’s a lot to be said for joining a vibrant studio with a variety of personalities and creative outlooks.
Anything else? Oh yes… clay. I feel a trip down to the Old Pottery supply shop in Sedgefield coming on.
Sarah Lowes 