Orimiu's Jam Tart Rings are now available to purchase at Ginger Pickle
Monday, 10 September 2012
Tuesday, 4 September 2012
Featured Seller: Inês Fonseca
My name is Inês Fonseca. I am Portuguese and I currently live in St Andrews, Scotland.
I grew up in the beautiful town of Sintra, which is located in a mountain close to the sea. It has really beautiful woods and castles, and because the weather is frequently foggy when I walked the woods I had the feeling that fairies and elves would appear on every turn of the way. My imagination was stirred with the environment and by a lot of books, including The Lord of the Rings and the Never Ending Story.
Crafts have always played an important role in my life... my mother has her own business making lampshades, and both my grandmothers have gifted hands. One of them taught me basic skills in embroidery and I keep a couple of beautiful blankets hand knit by my other grandmother. Although I love crafts, I must confess that I didn’t have very good grades in crafts and drawing at school. I think that this was because usually exercises were usually very strict and wouldn’t actually stimulate the imagination. I ended up studying humanities followed by a graduation in psychology, and later on I studied libraries and archives subjects. I have worked in archives since I was 22.
Polymer clay has become one of my favourite hobbies since I discovered it when I was 15. I have found it in a craft store in Sintra and was fascinated by the colour blocks. It was a lot like playing with plasticine but I could actually “freeze” the final result. Two years ago, after a year doing an MA in archives and records management in London – during which I didn't worked in polymer clay – I started playing with polymer clay again and I started exploring more techniques on my work. The feedback was so good that it got me thinking that this could actually be more than a hobby.
When did you decide to leave Sintra? Why did you choose to move to Scotland over any other place like London?
I left Sintra at 26. At the time I was working in Lisbon and I decided to move there. It was great because I was able to get to know the city a lot better and I would take long walks through the traditional neighbourhoods at the end of the day. I really miss being on the top of the hills looking at the apparent caos of the houses and feeling the warm breeze.
Later I moved to London to take the MA. It was a great experience... London is a mesh of cultures and people and I suppose it is best place to be whether you want to learn on archives or on crafts. I ended up learning both! After finishing the MA I returned to Lisbon until last year I decided to move with my partner to Scotland, as he is doing research at St. Andrews University. It is a big challenge in my life... I left a long term job and I am currently developing my work with the Little Creatures. I am also working in some archives related projects and looking for an opportunity to work with local archives. It’s been really hard work but also very rewarding.
Have you tried your hand at any other crafts or thought about moving forward with embroidery?
I have also tried clay when I was a kid because some of my mother’s friends were ceramists. It was great and I think that is where my passion for polymer clay comes from. I remember when someone asked me if I could borrow one of my child books to get inspiration for some animal sculptures and I was absolutely amazed with the result (it was a very funny hippopotamus).
I confess that when it comes to crafts I would like to learn a lot more. I want to improve my jewellery skills and I will be taking some workshops on clay metal. I have also been wanting to try enamelling for a while... I was fascinated by it when I saw its use on medieval objects on display at the V&A.
Do you think your mother and grandmothers influence your polymer clay works today?
My grandmothers were born at a time when learning crafts was part of almost every girl’s education. They contributed a lot to develop my interest in crafts in a broad manner. On the other hand, my mother has always encouraged me with my work on polymer clay. She gives me a lot of suggestions, not only on my creations but also on more practical issues concerning the business. In the beginning she used to do basket weaving, and in the future I would like to incorporate some of its techniques on my work.
However I wouldn't restrict my influences to my family. These days we have access to so many resources, that it would be really hard not to be influenced by this flow of information (not only the internet, but also libraries, archives, museums).
Are you working on your polymer clay full time or do you have another job?
I am working on polymer clay part-time, but focusing on it as a long-term project. I also keep dedicating myself to archives. I do some volunteer work with the International Council on Archives.
I really like these two areas (crafts and archives): crafts pulls out my creativity side, and with archives it’s a lot about stories. You can help someone researching the history of his/ her family, but you can also safeguard the history of a company or of an area of interest, like crafts. For instance, I was in the Stanley Kubrick archives and it was great to see the scripts from the movies, some of the props that were used, but also all the research involved to make a particular scene. In another sense, I think that archives are essential to ensure human rights in both democratic and non-democratic societies. That is one of the reasons why I like it so much.
Do you think you'll ever move back to Sintra or have you settle on staying in Scotland and building a life there?
You mentioned you tried your hand at ceramics when you were young. Why did you not pursue the use of ceramics or any others types of clay? What attracted you to polymer clay over the other kinds?
Later I started seeing how the medium was being used and its evolution. I feel that I will always be on a learning process because there are so many techniques to perfect and to explore. It’s really hard to get bored with it.
You seem to have an interest in textiles. Have you ever thought about incorporating textiles into your clay works; for example creating real mini scarves for your penguins or knitting a hat and putting your creatures on them?
I am looking at the question of incorporating textiles patterns and textures into my work using polymer clay. The idea isn’t new and I have tried it already using “faux” knitting to make the fur of some sheep. But I would like to go beyond that... I am trying to adapt Fair Isle knitting patterns into faux knitting and I also want to explore ways to make “faux” embroidery, inspired by a Portuguese tradition of embroidered handkerchiefs, the “Lenços dos Namorados”.
If you take up other interests of yours such as the enamelling or metal clay works, do you think you'd continue to create your little creatures? If so do you think you could combine them with these new skills?
I am very curious about experimenting new techniques and materials. When I found out about metal clay I immediately thought about it in terms of its applications into the realm of the Little Creatures. I would love to try to combine it with polymer clay and explore the use of both mediums. I will have to try it though... from my experience dealing with new things is a great way to push the imagination.
A lot of the creations I do nowadays are the result of custom commissions. A recent example was a commission for some ear cuffs... I had never heard of them and after doing some research I started learning wire work to be able to make the ear cuffs. I ended up realising that I could easily apply it to make wire structures for more delicate designs.
What influences the colours you choose, the creatures you choose to make and the way you stylize your works? Also what inspires your work daily - what resources do you use and what do you take inspiration from visually?
Nature is definitely the best source of inspiration I have for my work. I am drawn by the little details and I am very curious about plants and animals... not only by the species with which I have direct contact but I also like books and TV shows about them. If there is a particular thing that draws my attention I end up doing more research and then I just try to figure out how to make it real. I use Flickr, EOL and field guides to look for images of the real creatures and I usually work from there. The colours I use depend on what I am working. I usually build the colour palette before working on a new design, but I often make changes on a more intuitive basis. I tend to use neutrals and browns for woodland creatures, but I love to explore vivid colours for insects.
I am looking at this project as a small business, and it’s been a real challenge to build its basis... not only actually working with polymer clay, but I also like the “management” aspects of it because I am aware that whatever I’ll make of it, I can make it according to my own values and rules.
I am looking into different ways to showcase my work, namely through some craft fairs and I would like to give it a go with retail. I would definitely like to see more little creatures around and if I can do that and have an additional source of income it’s perfect.
You mentioned that you enjoying doing both academic works (archiving) and creative works (your creatures). What are your views on the Arts and Academics?
People are different and I think that what works for some people may not work for others. I think it is important for people to have contact with different activities and experiences. It makes room for discovery and eventually to explore more in depth specific interests, whatever they are.
I see archives as a very practical area that is simultaneously “hands on” and intellectually challenging and I really like to get my hands dirty to find records that tell great stories... I was thrilled when I discovered a letter by Anthony Blunt among some records regarding education activities at the National Portrait Gallery.
I also think that it is important to have some sort of activity that somehow allows me to play. For some people it is sports, photography (for some people is archives)... but for me is crafts. I really enjoy being able to transform something with my hands and when I am “working” I often lose the sense of time.
Having both these activities in my life is very challenging and rewarding. It’s great to be able to put my imagination in practice through polymer clay and to be able to contribute actively to a healthy society through by preserving and promoting access to archives.
What is the creative process you go through to create a new creature? How do you come up with ideas and what kind of forms/ animals grabs your attention?
My ideas for new creatures come from a lot of different places... they can be the result of direct observation but they can also come from a story or a painting. I always carry a little notebook with me and if there is something that grabs my attention I write it or draw it. Lately I have been paying more attention to birds, as there are so many species in Saint Andrews, in particular sea birds. Sometimes I get home and I start working on it right away but often it takes a while before I start shaping the creature. In most of the cases I do some research on the animals, their habits and colours beforehand.
When I start shaping the creatures with polymer clay I usually already have some sort of structure in my head. It used to take some time until I worked out the final shape for a creature but nowadays I find that after a first model I am able to see what works and what can be improved. I take the time to explore, to find good solutions and then I make the real creatures.
The great thing of the Little Creatures is that there are all sorts of creatures, from mammals, to insects and fish and it’s great to add new members to the family because there is so much diversity to discover out there.
What's your favourite item in your own shop and why?
My favourite item is definitely the sheep... I really like sheep, they’re a fun animal, independent in some sort of way and they remind me of clouds with head and feet. I have always enjoyed making them, and I was thrilled to use “faux” knitting for their wool because it made sense to dress them with nice and warm sweaters.
I have done a few variations since and this winter they will be around in colourful knitted sweaters with stripes.
Is there anything else you'd like to add?
It was really nice to do this interview and I would like to thank Carmen for this opportunity. I hope that those reading enjoy it and if at some point you feel your fingers telling you they want to make things, go for it. It’s great to discover new things and usually we end up surprising ourselves.
If you want to discover more about the stories on the Little Creatures you can visit my blog at thelittlecreatures.wordpress.com
Thursday, 16 August 2012
Featured Seller: Marieanne Cavaciuti
Tell me about yourself.
I love creating and must say I am completely addicted! I've been creative all my life and tried every craft I could get my hands on. I always loved nature too and would go on nature trails as a kid collecting treasures on the way and drawing and sticking them in a little book. When I made my mum some blossom painted bowls recently, she loved them but wasn't surprised that I was painting flowers! I would collect many things that others would throw away and make them into pieces of art, costumes or hats.
As children we were always encouraged to be creative, and growing up in the 70's meant colour was very important! One of my Aunties lived in the USA and was a great inspiration. She spent the whole year making presents for us; clothes, quilts, soft toys, beautiful decorations and best of all brightly coloured pottery. A big irresistable box would arrive every Christmas full of the beautiful things she had made. Another Aunty lived in Rwanda and would illustrate her amazing letters with beautiful drawings. So I had many sources of inspiration!
At school I ended up doing science subjects aswell as art and love the way that producing ceramics is a wonderful alchemy of science and art. Unfortunately focussing on science pushed out art and I broke down at the age of 17 and ended up in hospital at 19, where I first learnt pottery as therapy - and it certainly worked! I loved it and where I had felt the my life was over, I found something I could do! I got better and took many adult education lessons in pottery, while I worked to save money for travelling. I travelled in Europe, walking into Hungary behind the iron curtain, visiting the Viennese Opera house, Venice, Swiss mountains, Paris Pompidou Centre and much more in between, seeing many stunning natural and man made wonders. I bought my own wheel and kiln, then got a job for a while as a sculptor in Dorset; making originals in clay for moulds to be taken to be reproduced.
I met my lovely husband in my early 20's and we travelled together in Asia and Australia, where we worked, became Christians and got married. Australia is a stunningly beautiful and inspiring place. We were very tempted to stay, but wanted to be nearer to family in Europe so returned to the UK. Then came the kids; 4 in 5 1/2 years, so there was no time or room to do pottery. I scratched the creative itch by sculpting cakes, making cards, tie-dying, batik, junk modelling with the kids, storytelling and playing my guitar and singing at home and church.
As the kids got older I returned to pottery classes but ended up helping to teach the class,
so when we had enough space my husband built my studio, in the garden, among a damson trees left over from an old orchard. I started to teach and, make my own work to sell at craft fairs and to friends and give as gifts. All the crafts I had done when I couldn't do pottery inspired and provided tools and equipment which I have been able to use in my work. Not much is safe from being pressed into clay!
I spent a year selling at craft fairs before I found Etsy and started selling in a few brick and mortar shops. It has been a bit of a roller coaster juggling family, the worship music, and my pottery business, but I would not change it for the world!
It is an incredible privilege to be able to do work that I enjoy! I am crazily addicted to colour and creating in clay. My kiln is gas fired and creates beautiful, if at times unpredictable effects! I love teaching, especially on the wheel and bring my wheel out for our town's street party and teach many kids to make pots for the first time - they love it! I only teach a few people at a time in my studio and they all inspire each other and me!
Was clay always the medium you wanted to create in or did your love for clay only arise during your time at the hospital? Also did you experiment with other types of craft after your pottery therapy?
I had not really had the opportunity to work with clay before I did the pottery therapy though had always loved working in 3D.
When my children were young we were always building sculptures with found objects, sand sculptures, cakes etc. When we went away to a beautiful place, we would always do water colour painting.
I worked with textiles making home furnishing and spent a lot of time tie and dip dying and experimented with Batik. I think these uses of colour can be seen in the glazes I use. I also did a lot of card making developing a collection of stamps which I have been able to use with clay. All the time I was thinking that I would be able to use them with ceramics when I could finally get back to it! I think that something clicked for me with the incredible versatility of ceramics combining the tactile process of making, with the wonderful experiment of colourful glazing, nothing beats that for me! I can relate the excitement of opening the kiln to opening up the fabric after tie-dying.
Do you incorporate the items you collect into your clay and if so how?
Yes I do! Mostly natural objects - the cherry blossom twigs which I press into the clay to make coasters, bowls and framed tiles. The beach combed objects which I use to make coasters; seaweed, shells, fossils and corals. Also interesting textures that I find around the home; fabric, key rings etc not much is safe!
Do you still have the presents and illustrations your Aunties gave you? If so do they influence your current works?
Yes I do and these are treasured possessions! My Aunty in the US used to make us clothes, which we thought she had bought - until she sent us quilts with all the left over scraps of fabric. I have these still and used to put them on my children's beds when they were little. We are keeping them for the grandchildren! I also still have the wonderful little ceramic bath she decorated with stunning brightly coloured glazes, the beautiful crocheted shawl and sequinned Christmas stockings. I think her wonderful use of colour and the variety and quality of what she made still inspires me. I still have some of the beautiful flowers that my Auntie who lived in Africa carefully painted and the influence of these can be clearly seen in my blossom painted bowls and tiles.
When you got back from your travels did you find your work evolve accordingly or did it remain fairly similar?
Unfortunately I did not have the opportunity to work with clay again for a long time, but my eyes were opened even more to the beauty of this wonderful world we live in. Some of this is reflected in some new little turquoise glass bowls with tiny stars, which remind me of the stunning turquoise sea surrounding the Whitsunday Islands in Australia.
What attracted to you to teaching clay rather than solely making for yourself?
It first started when I went to lessons to get back into pottery and I was asked to help teach people to make pots on the wheel. I loved teaching and helping others find the joy of creating in clay. I believe everyone is creative and it's just a matter of finding the medium that works for you! I started teaching kids from home partly to help fund making myself as I developed saleable work! I do love teaching and have taught hundreds on the wheel and only found 1 who couldn't make a pot. I love sharing the creativity I love with others.
Is the damson trees from the old orchard the reason why you named your shop "Damson Tree Pottery"? Do those damson trees bare a significant meaning/importance?
Yes it's because of the damson trees. They are such beautiful semi wild plums. They were brought to the UK by the Romans from Damascus in the Middle East. They were used not only for food, but for making dye for textiles and believe it or not for colouring pottery! I am still to experiment with that! Though we have made many delicious pies, crumbles, jam, jelly and chutney with the damson fruit.
I had called my business 'Caterham Creations' named after the town where I live, but when I asked local shops if they would stock my items most would not even look at them due to the recession! So I decided to look for a more personal name. I thought of damson tree pottery because of the trees surrounding my pottery. When I searched I found the blog of one of my students, who wrote about her "pottery lessons with Marieanne in her pottery studio in the shade of the damson trees". This sealed it for me!
You mentioned your crazily addicted to creating in colour? Why do you prefer working in colour as opposed to working with the natural colour of clay?
Haha! I just love the almost infinite variations of glazes which you can mix and match just like fabric dye, and love the incredible variety of colour combination in nature. I also love the natural colour of clay and use about 5 different colours of clay in my work. These have different affects on the glazes producing even more variety. I do sometimes use the natural clay colour with clear glaze as seen with my blossom bowls and soap dishes. I have some lovely toasty brown clay flower earrings - unglazed except for a little blob of glaze in the centre. You can see it in my little tiny clay thumb bowls in pictures and as jewellery, filled with glass and tiny ceramic pieces.
I would love to experiment with using stains in the clay and am very inspired by the potter Lucie Rie. Although I highly respect Bernard Leach - the father of studio pottery in the UK and those that have followed him, I do struggle with potters using just monochrome muddy colours. I understand that when you make your own glazes you cannot have the variety that is produced commercially as there is so much experimentation involved. I would like to make my own glazes at some stage, but am very busy at the moment experimenting with the many colours and effects that I have already. I would like to work with black clay as a contrast to colour. One day I am going to experiment with Raku firing - which opens a whole new world of colour and effects!
Since you gave your children a very creative upbringing did you hope that they would follow your footsteps and pursue a career in art and have they?
I guess I just wanted them to have every opportunity to try things out so they could choose creativity for fun or as a career. My eldest is very artistic and is studying Molecular Biology at Uni, I think science combined with creativity is where you get breakthrough! My second son is very creative and wants to make guitars for a living. My daughter has always wanted to be a nurse but is reconsidering now she has seen that you can succeed with creativity, she is very talented with fashion and textiles. My youngest is creative too and is looking to express that in engineering.
I hope that if they do not have creative careers that they will be creative for fun!
What type of clay do you use and what are the qualities of it? Also have you looked
at using other types of clay e.g. air dry, polymer, resin? If so have you been able to combine the two?
I mainly use white or cream earthenware clay. It's a bit of a journey to get it and I am using more and more, so am thinking of having a large load of bags delivered. It's lovely to use but takes a bit of work to recycle - and I don't waste any!
I have used air dry and polymer clay when I didn't have my kiln working, but have never tried resin. I don't think they would combine with the earthenware, but I would like to try other ceramic clays like porcelain, bone china or stoneware clay.
You seem to use objects to imprint a lot. What other techniques can you use with clay and do you use any of them?
There are almost infinite varieties of techniques for making and decorating clay! I love the work of the potter Lucie Rie who experimented with many different techniques and often broke the 'rules'! I love the way she put stains into clay and used two or more colours of clay on the potters wheel, so they squirl together with the rotation of the wheel and form beautiful patterns. I would love to try this.
Another technique I'm itching to try is Raku, which involves using very strong and thermal shock proof clay, on the wheel or or sculpture etc. biscuit fire. Then decorate with slips and glazes, you fire them to around 900C then remove them from the kiln with tongs and put them into a dustbin of combustible material, then some times plunge them into water. There are many different techniques with Raku firing producing stunning and unpredictable results. This really appeals to me!
Do you have a favourite item in your shop?
Difficult question, I think it must be my twelve blossom tiles. I love the natural design of the cherry twigs and the turquoise, pink and brown colour combination. It was a lot of work and I had to paint it so carefully, then put it in my gas kiln, not knowing if it would work. Thankfully it did and almost looks alive, I couldn't be happier! It helps me appreciate the transient beauty of the real winter flowering cherry blossoms even more!
Where do you see yourself taking Damson Tree Pottery?
I am currently selling worldwide via Etsy, which I love! I also have my own pottery studio in my garden. I would like to expand this so there is more room for teaching and for pottery parties etc. I am hoping to build a special room in the house for the assembling of jewellery, pictures, decorations and for wrapping getting ready to post. At the moment this tends to spread into nearly every room in the house!
I'm not too interested in having my own shop as I think other's have better skills at selling than me and we can work together. I am currently selling in two shops in Brighton and one in London though would like to sell in more shops around the country. This way I don't have to spend so much time wrapping and posting etc, though I do love wrapping things beautifully!
The business has grown organically so far and at a manageable rate and want to keep a good balance of business and family life!
Is there anything else you'd like to add?
I love being a seller on Etsy and so appreciate the amazing opportunities it opens up worldwide! Also it is so helpful and encouraging being part of Etsy teams and I am excited about what the future holds!
As children we were always encouraged to be creative, and growing up in the 70's meant colour was very important! One of my Aunties lived in the USA and was a great inspiration. She spent the whole year making presents for us; clothes, quilts, soft toys, beautiful decorations and best of all brightly coloured pottery. A big irresistable box would arrive every Christmas full of the beautiful things she had made. Another Aunty lived in Rwanda and would illustrate her amazing letters with beautiful drawings. So I had many sources of inspiration!
At school I ended up doing science subjects aswell as art and love the way that producing ceramics is a wonderful alchemy of science and art. Unfortunately focussing on science pushed out art and I broke down at the age of 17 and ended up in hospital at 19, where I first learnt pottery as therapy - and it certainly worked! I loved it and where I had felt the my life was over, I found something I could do! I got better and took many adult education lessons in pottery, while I worked to save money for travelling. I travelled in Europe, walking into Hungary behind the iron curtain, visiting the Viennese Opera house, Venice, Swiss mountains, Paris Pompidou Centre and much more in between, seeing many stunning natural and man made wonders. I bought my own wheel and kiln, then got a job for a while as a sculptor in Dorset; making originals in clay for moulds to be taken to be reproduced.
I met my lovely husband in my early 20's and we travelled together in Asia and Australia, where we worked, became Christians and got married. Australia is a stunningly beautiful and inspiring place. We were very tempted to stay, but wanted to be nearer to family in Europe so returned to the UK. Then came the kids; 4 in 5 1/2 years, so there was no time or room to do pottery. I scratched the creative itch by sculpting cakes, making cards, tie-dying, batik, junk modelling with the kids, storytelling and playing my guitar and singing at home and church.
As the kids got older I returned to pottery classes but ended up helping to teach the class,
I spent a year selling at craft fairs before I found Etsy and started selling in a few brick and mortar shops. It has been a bit of a roller coaster juggling family, the worship music, and my pottery business, but I would not change it for the world!
It is an incredible privilege to be able to do work that I enjoy! I am crazily addicted to colour and creating in clay. My kiln is gas fired and creates beautiful, if at times unpredictable effects! I love teaching, especially on the wheel and bring my wheel out for our town's street party and teach many kids to make pots for the first time - they love it! I only teach a few people at a time in my studio and they all inspire each other and me!
Was clay always the medium you wanted to create in or did your love for clay only arise during your time at the hospital? Also did you experiment with other types of craft after your pottery therapy?
I had not really had the opportunity to work with clay before I did the pottery therapy though had always loved working in 3D.
When my children were young we were always building sculptures with found objects, sand sculptures, cakes etc. When we went away to a beautiful place, we would always do water colour painting.
I worked with textiles making home furnishing and spent a lot of time tie and dip dying and experimented with Batik. I think these uses of colour can be seen in the glazes I use. I also did a lot of card making developing a collection of stamps which I have been able to use with clay. All the time I was thinking that I would be able to use them with ceramics when I could finally get back to it! I think that something clicked for me with the incredible versatility of ceramics combining the tactile process of making, with the wonderful experiment of colourful glazing, nothing beats that for me! I can relate the excitement of opening the kiln to opening up the fabric after tie-dying.
Do you incorporate the items you collect into your clay and if so how?
Do you still have the presents and illustrations your Aunties gave you? If so do they influence your current works?
Yes I do and these are treasured possessions! My Aunty in the US used to make us clothes, which we thought she had bought - until she sent us quilts with all the left over scraps of fabric. I have these still and used to put them on my children's beds when they were little. We are keeping them for the grandchildren! I also still have the wonderful little ceramic bath she decorated with stunning brightly coloured glazes, the beautiful crocheted shawl and sequinned Christmas stockings. I think her wonderful use of colour and the variety and quality of what she made still inspires me. I still have some of the beautiful flowers that my Auntie who lived in Africa carefully painted and the influence of these can be clearly seen in my blossom painted bowls and tiles.
When you got back from your travels did you find your work evolve accordingly or did it remain fairly similar?
Unfortunately I did not have the opportunity to work with clay again for a long time, but my eyes were opened even more to the beauty of this wonderful world we live in. Some of this is reflected in some new little turquoise glass bowls with tiny stars, which remind me of the stunning turquoise sea surrounding the Whitsunday Islands in Australia.
What attracted to you to teaching clay rather than solely making for yourself?
It first started when I went to lessons to get back into pottery and I was asked to help teach people to make pots on the wheel. I loved teaching and helping others find the joy of creating in clay. I believe everyone is creative and it's just a matter of finding the medium that works for you! I started teaching kids from home partly to help fund making myself as I developed saleable work! I do love teaching and have taught hundreds on the wheel and only found 1 who couldn't make a pot. I love sharing the creativity I love with others.
Is the damson trees from the old orchard the reason why you named your shop "Damson Tree Pottery"? Do those damson trees bare a significant meaning/importance?
I had called my business 'Caterham Creations' named after the town where I live, but when I asked local shops if they would stock my items most would not even look at them due to the recession! So I decided to look for a more personal name. I thought of damson tree pottery because of the trees surrounding my pottery. When I searched I found the blog of one of my students, who wrote about her "pottery lessons with Marieanne in her pottery studio in the shade of the damson trees". This sealed it for me!
You mentioned your crazily addicted to creating in colour? Why do you prefer working in colour as opposed to working with the natural colour of clay?
Haha! I just love the almost infinite variations of glazes which you can mix and match just like fabric dye, and love the incredible variety of colour combination in nature. I also love the natural colour of clay and use about 5 different colours of clay in my work. These have different affects on the glazes producing even more variety. I do sometimes use the natural clay colour with clear glaze as seen with my blossom bowls and soap dishes. I have some lovely toasty brown clay flower earrings - unglazed except for a little blob of glaze in the centre. You can see it in my little tiny clay thumb bowls in pictures and as jewellery, filled with glass and tiny ceramic pieces.
I would love to experiment with using stains in the clay and am very inspired by the potter Lucie Rie. Although I highly respect Bernard Leach - the father of studio pottery in the UK and those that have followed him, I do struggle with potters using just monochrome muddy colours. I understand that when you make your own glazes you cannot have the variety that is produced commercially as there is so much experimentation involved. I would like to make my own glazes at some stage, but am very busy at the moment experimenting with the many colours and effects that I have already. I would like to work with black clay as a contrast to colour. One day I am going to experiment with Raku firing - which opens a whole new world of colour and effects!
Since you gave your children a very creative upbringing did you hope that they would follow your footsteps and pursue a career in art and have they?
I guess I just wanted them to have every opportunity to try things out so they could choose creativity for fun or as a career. My eldest is very artistic and is studying Molecular Biology at Uni, I think science combined with creativity is where you get breakthrough! My second son is very creative and wants to make guitars for a living. My daughter has always wanted to be a nurse but is reconsidering now she has seen that you can succeed with creativity, she is very talented with fashion and textiles. My youngest is creative too and is looking to express that in engineering.
I hope that if they do not have creative careers that they will be creative for fun!
What type of clay do you use and what are the qualities of it? Also have you looked
I mainly use white or cream earthenware clay. It's a bit of a journey to get it and I am using more and more, so am thinking of having a large load of bags delivered. It's lovely to use but takes a bit of work to recycle - and I don't waste any!
I have used air dry and polymer clay when I didn't have my kiln working, but have never tried resin. I don't think they would combine with the earthenware, but I would like to try other ceramic clays like porcelain, bone china or stoneware clay.
You seem to use objects to imprint a lot. What other techniques can you use with clay and do you use any of them?
There are almost infinite varieties of techniques for making and decorating clay! I love the work of the potter Lucie Rie who experimented with many different techniques and often broke the 'rules'! I love the way she put stains into clay and used two or more colours of clay on the potters wheel, so they squirl together with the rotation of the wheel and form beautiful patterns. I would love to try this.
Another technique I'm itching to try is Raku, which involves using very strong and thermal shock proof clay, on the wheel or or sculpture etc. biscuit fire. Then decorate with slips and glazes, you fire them to around 900C then remove them from the kiln with tongs and put them into a dustbin of combustible material, then some times plunge them into water. There are many different techniques with Raku firing producing stunning and unpredictable results. This really appeals to me!
Do you have a favourite item in your shop?
Difficult question, I think it must be my twelve blossom tiles. I love the natural design of the cherry twigs and the turquoise, pink and brown colour combination. It was a lot of work and I had to paint it so carefully, then put it in my gas kiln, not knowing if it would work. Thankfully it did and almost looks alive, I couldn't be happier! It helps me appreciate the transient beauty of the real winter flowering cherry blossoms even more!
Where do you see yourself taking Damson Tree Pottery?
I am currently selling worldwide via Etsy, which I love! I also have my own pottery studio in my garden. I would like to expand this so there is more room for teaching and for pottery parties etc. I am hoping to build a special room in the house for the assembling of jewellery, pictures, decorations and for wrapping getting ready to post. At the moment this tends to spread into nearly every room in the house!
I'm not too interested in having my own shop as I think other's have better skills at selling than me and we can work together. I am currently selling in two shops in Brighton and one in London though would like to sell in more shops around the country. This way I don't have to spend so much time wrapping and posting etc, though I do love wrapping things beautifully!
The business has grown organically so far and at a manageable rate and want to keep a good balance of business and family life!
Is there anything else you'd like to add?
I love being a seller on Etsy and so appreciate the amazing opportunities it opens up worldwide! Also it is so helpful and encouraging being part of Etsy teams and I am excited about what the future holds!
Tuesday, 7 August 2012
Featured Seller: Vanessa Bullick
Lets talk about you.
My name is Vanessa Bullick. I was brought up in Edinburgh and now live in Fife, Scotland where I work from my studio at home in the country. I am a self taught potter starting over 17 years ago after a short course of evening classes. I have been awarded Professional Membership of the Craft Potters Association in London and I shall be exhibiting in Contemporary Ceramics, London from this December. I studied for a degree in Sculpture at Edinburgh College of Art in 2004 where I specialized in drawing and video.
I was Shortlisted for Jerwood Drawing Prize 2005. After having children I found that I could return to ceramics and work around the family, but hope to return to drawing sometime in the near future when I have more time.
Pick 3 words to describe yourself.
Busy, determined and patient.
Who is your favourite artist and why?
In ceramics Edmund de Waal and Gordon Baldwin. Edmund de Waal’s forms are simple and work so well. In Gordon Baldwins work I love the combination of drawing and ceramics.
Tell us about your shop.
I opened my shop Vanessa Bullick Ceramics on Etsy in November 2011 but it took me until February 2012 to fully work out how to run a shop. Until then I have always shown my work in galleries throughout the UK, Open Studios and Potfest Scotland. The discovery of Etsy has been very exciting taking control of sales myself along with still showing in galleries. Through Etsy I have been selling to people around the world and also people who know my work in this country and want to buy additional pots for their collection.
Tell us about the inspirations for your creations.
My mother is an artist so I was brought up surrounded my art and having a studio was been the norm. My work is influenced by natural form and pattern. In particular I am interested in the mix stones and rocks found on the seashore.
What are your creative processes?
My sawdust fired pots have developed over time.
I used to work in a much larger scale but have found the size of my pots have reduced to a size that can be held in the hand. This works well with the tactile nature of my pots. They look good individually but also can be grouped together well. I use a stoneware clay but I had to try a lot of different makes to find a clay that can cope with the thermal shock of sawdust firing but also that retained good markings. My pots are wheel thrown, burnished, patterned and textured using slip then sawdust fired. I fire in a metal dustbin using a variety of woods. I have found that the type of wood I use has an impact on the effects in the firing. Oak shavings leave dramatic markings in black and white and can take up to 36 hours to fire a dustbin. Sycamore can fire in a
couple of hours and leave a very dark brown colour with white areas where I have applied a slip resist. Mahogany fires black and white but where the slip resist has been it leaves grey marks so this is how I have parts of a pot that are white with grey spots or stripes. Ash does not work at all leaving a muddy effect. Another factor in firings is the weather so on a windy day the firings are faster and more dramatic effects are achieved. I know to a certain degree what the firing is going to achieve but there is always an element of surprise when I lift the lid of the dustbin at the end of firing.
Choose 5 words that describe your work:
Tactile, minimal, natural, textured and patterned.
Do you have any favourite pieces?
Spiky pots are my favourite, I love the way they feel in my hand when I hold them.
I also enjoy making them.
Name 3 of your favourite shops.
My favourite Etsy ceramics shops are Morales Pottery, clamlab and Vitrified Studio.
Are there any other comments you'd like to add?
If you would like any further information about my work please contact me.
My website is vanessabullick.co.uk
I was Shortlisted for Jerwood Drawing Prize 2005. After having children I found that I could return to ceramics and work around the family, but hope to return to drawing sometime in the near future when I have more time.
Pick 3 words to describe yourself.
Busy, determined and patient.
Who is your favourite artist and why?
Tell us about your shop.
Tell us about the inspirations for your creations.
My mother is an artist so I was brought up surrounded my art and having a studio was been the norm. My work is influenced by natural form and pattern. In particular I am interested in the mix stones and rocks found on the seashore.
What are your creative processes?
I used to work in a much larger scale but have found the size of my pots have reduced to a size that can be held in the hand. This works well with the tactile nature of my pots. They look good individually but also can be grouped together well. I use a stoneware clay but I had to try a lot of different makes to find a clay that can cope with the thermal shock of sawdust firing but also that retained good markings. My pots are wheel thrown, burnished, patterned and textured using slip then sawdust fired. I fire in a metal dustbin using a variety of woods. I have found that the type of wood I use has an impact on the effects in the firing. Oak shavings leave dramatic markings in black and white and can take up to 36 hours to fire a dustbin. Sycamore can fire in a
Choose 5 words that describe your work:
Tactile, minimal, natural, textured and patterned.
Do you have any favourite pieces?
Spiky pots are my favourite, I love the way they feel in my hand when I hold them.
I also enjoy making them.
Name 3 of your favourite shops.
My favourite Etsy ceramics shops are Morales Pottery, clamlab and Vitrified Studio.
Are there any other comments you'd like to add?
If you would like any further information about my work please contact me.
My website is vanessabullick.co.uk
Wednesday, 18 July 2012
July Featured Items
Made By Me Me Me
Porcelain White Bird with Pink Heart Necklace - £60.00
This necklace can be purchased here:
Please visit Jade's shop:
Alex Carr Sculpture
Porcelain Pendant with Translucent Design - £30.00
This pendant can be purchased here:
Please visit Alexandra's shop:
Maa P Studio
Martin Yellow and White Porcelain Ring - $44.20 (approx £29)
This ring can be purchased here:
Please visit Monika's shop:
Thursday, 28 June 2012
Promotional Plates Display
Calling All UK Clay User Members
Jude Winnall of VanillaKiln is organizing a Promotional Plates Display
" Make/paint a plate. It can be a plaque,
a tile, a work of art or a piece from a dinner set.
As long as it can be stuck/mounted to a wall and is round (ish).
It can be flat, wobbly, in pieces, etc.
Send it to me. I will arrange the collection(s) on an interior wall,
a tile, a work of art or a piece from a dinner set.
As long as it can be stuck/mounted to a wall and is round (ish).
It can be flat, wobbly, in pieces, etc.
Send it to me. I will arrange the collection(s) on an interior wall,
somewhere really presentable with a modern setting.
I will get the plates photographed, captioned with credits,
compiled into a beautiful press release and sent to the
glossy interior magazines to promote ourselves.
Theme
Winter
Shape
Round(ish)
Colour
Colour
Any
Medium
Medium
Clay, ceramic, polymer, air drying, london clay, etc
Size
Size
It's hoped that there will be enough entries for two room settings.
A mini room setting /dolls house and a normal sized room.
Otherwise the plates will be artistically arranged
on the same wall in size order from large to small.
Miniature, from 1 inch to 1.5 inch
Normal, from 4 inches to 9 inches.
One entry per shop, maximum two plates.
Miniature, from 1 inch to 1.5 inch
Normal, from 4 inches to 9 inches.
One entry per shop, maximum two plates.
ie, one miniature plate and one normal size plate.
Deadline
Get the plate(s) to me mid August.
Deadline
Get the plate(s) to me mid August.
I would ask that participants pay the cost of the return postage.
I send out press release late August /early September.
Unfortunately we may miss the Christmas editions – but still worth a go."
Unfortunately we may miss the Christmas editions – but still worth a go."
For more information
Follow the discussion in our team page:
Follow the discussion in our team page:
Or contact Jude via Etsy:
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