We have a blunger gifted to us from the late, great Norwich Potter, Robin Dauncey. A blunger is a large machine a little like a food processor. I have started to process the clay with this but I am finding the clay contains large rock deposits which were missed. This is playing havoc with the blades of the blunger. Not only that the clay is sticky and binding onto the blades rather than mix up the material for sieving .
On the same visit to Alice's I became very interested in her job of cataloguing the shards/sherds in collections. written very meticulously in permanent ink on the object itself. This tied together for me the physicality of the object in hand and the distance between objects in a display case, whatever they may be, stored and numbered.
I have mentioned here before about my discussions and sharing of information with Alice Lyons ( Specialist in the analysis and publication of Romano British Ceramics) I was lucky enough to have a handling session of her collection of ceramic finds from the iron age up to 1800's. So many things came from this meeting. Firstly how erroneous material could could be found in the body ( as a ceramics reference) of the clay such as shell or grit. What was also intriguing was to see
Great display of industrial machinery, geology and most importantly ( and why I came) burial urns. It called to mind the sounds and smells of working mills and factories, I suppose in a way much of that has gone. Only in very specific places can it be found still, like the steel works in Wymondham where I have sourced some steel to build a kiln. Oil, swarf, grime all seems to have an odour of potential production which is somehow alive, not like the green fluorescent tint and
On walking around the gallery, I came across a Victor Passmore drawing on a gesso board. There seemed for me a strange correlation between work that I have done in the past and works done more recently in ceramics. Strangely, the painting studio I did my BA in was called the Victor Passmore building, having been opened by him on the Yorkshire sculpture park site. There were similarities in the motifs and shapes used in the drawn work, which I had been producing for some time.
Something that appeals to me still is that sense of commanding attention through the use of space. Susan Phillips exhibition at the Scottish National Gallery of Modern Art really struck a chord with me. She and the work demands...this is how this space should feel for the work to exist in and be part of. It's impossible not to feel reverence, albeit unexplained and unreasoned whilst viewing the work. I liked the way still images are shown along with moving machines, the recor
A number of things; Was really nice to touch base with some of the great painters ( Rembrandt, Canaletto etc) in this wonderful collection. Amazing how the Rembrandt self portrait follows you around..Those eyes! But also very interesting to compare Francesco Guardi's expressive versions of Venice to Canaletto's almost static snapshots of the city. Having been, I think I now much prefer Guardi's work. I was also able to see a joint contemporary art exhibition by the SSA and VA