A Life Changing Conversation

“You entirely changed our lives you know.” The words of my customer took me by surprise. She went on to explain that over a year ago she and her husband had bought a copy of my print “Waiting for the Next Leaf to Fall”. At the time I'd explained that the scene I had painted was of autumnal trees behind Harbottle Castle, near a kink in the River Coquet, known as “The Devil's Elbow”. So after leaving the gallery, they had immediately gone to see the place for themselves and enjoyed a wonderful walk.

Waiting for the Next Leaf to Fall

Once home, my print was hung in their sitting room and often when they looked at it, they said to one another “What are we doing living and working here, when really we want to be back home in Northumberland?” This year they decided to do something about making their dream a reality. The wife has already taken early retirement and the husband is in the process of doing the same. They are currently up here on a house hunting trip... looking at houses for sale in Harbottle, Hepple and Rothbury.

It's funny how a whole chain of events can take place on the strength of a few words........ And  that you might never know that you had provided the catalyst to change someone else's life.  

Only One Way to Throw Pots?

I enjoyed watching this BBC programme last night.....http://www.bbc.co.uk/programmes/b05vncvw  It involves 6 celebrities working for the day  as Victorian pottery workers at Gladstone Pottery (Museum). While we were ceramics students in the 1970s we visited there, as well as Pearsons of Chesterfield.  The manufacturing techniques still in use at Pearsons at that time were almost identical to Victorian ones. I can still recall one of the master potters telling us in his blunt accent that, "There's only one way to throw pots....... and that's the way we do it here." With that, he slammed a lump of very wet clay onto the wheelhead, opened it out,  pulled it up to the right height, then rammed a wooden template against the entire side of the revolving clay to create the desired profile. All in a matter of seconds, the pot was formed. Impressively fast, definitely efficient, but totally soulless-  he worked like a human machine.   It was plain that he had no time for students and their fancy, newfangled ideas! 

When I think of the beautiful, joyful studio pots I've seen, handled, used, sold and coveted over the years I know that he was entirely wrong to assume that there was one one way to throw. But perhaps one HAS to have that mindset to be able to churn out hundreds of identical pieces hour after hour, day after day, week after week, year after year? 

Replica Wassail Cup by Graham Taylor

Replica Greek Douris Cooler By Graham Taylor, decorated by me

Planter by Graham Taylor, remodelled by me.

Handled bowls by Hugh Mactavish of Argyll Pottery 

Do watch this programme if you have any interest in crafts, manufacturing or social history! Perhaps it will also give you a little more appreciation for the work of craft potters, who still work in a similar way- using mind and muscle in harmony to create their wares. 

http://www.bbc.co.uk/programmes/b05vncvw

Past, Present and Pots.

After my husband Graham and I finished our Ceramics degrees in 1977 we went to work at Appin Pottery in Argyll, in the West Highlands of Scotland. Our new boss Joe Finch, was from a highly respected potting family, and his lovely wife Trudi was an accomplished pottery decorator and watercolourist. We knew ourselves to be very fortunate to land such a great position, with such good mentors. 

Glen Creran 

Life in the glen was happy but strenuous. There was always wood to be stacked to dry, ready to feed the ravenous wood fired kiln. There were an infinite number of jobs to be done every day, from throwing pots to clearing out drains and mixing glazes. We stayed there for three years, during which time our eldest daughter, Alison, was born. It soon became obvious that her favourite part of the day was when the Mactavish children came to call on their boisterous way home from school. The outer door would bang open, and with much laughter and a scurry of feet, they would ricochet up the stairs and burst into our flat. They would proceed to play games with "wee Alison", read her stories, do some drawing, mess about with clay or just generally chatter. Then, just as suddenly as they arrived, like a flock of little sparrows, they would suddenly disappear again- leaving the place instantly quieter, but just a little sad.

One of those children was Hugh Mactavish. And it's clear that those childhood hours spent around the pottery left their mark, as he is now the owner of  his own workshop, Argyll Pottery. So it's with great pleasure that I've just bought a consignment of his delectable wood-fired domestic stoneware pots for sale here at Crown Studio Gallery. 

Large Jug

I've selected pieces that are what we call in the trade "potters' pots". These are the pottery equivalent of a fine single malt whisky- created for the connoisseur, the nuances and subtleties clear to the expert, but perhaps lost on anyone looking for industrial uniformity. Firing a kiln using wood is an elemental, labour intensive process. The kiln needs to be constantly fed with dry wood for an entire day.  The ash formed during the course of the firing, swirls through the atmosphere of the kiln, where it melts to produce a warm “toasted” appearance on the unglazed areas of the pots and imparts an unpredictable speckle to the glaze.  The glazes develop a rich depth of colour, hinting at the minerals from which they were formed. It's the nearest thing to alchemy that exists. 

Assorted sizes of  jugs in various glazes

Faceted vases

Dish with handles

Deep Noodle Bowl

Large Bowl with Blue "Chun" style glaze

It's going to be very difficult for me to part with a single piece.

 

To print or not to print?.... That is the question.

A Miller's eye view of The Thrum, Rothbury

I painted this view of the River Coquet at about this time last year. My viewpoint was the rocks right next to the newly restored water wheel of Thrum Mill- which you may have seen on "Restoration Man" even if you haven't actually seen it in reality. The Thrum is owned by my friend Margaret and her husband Dave, who gave me the full guided tour that day. This culminated in walking out onto the rocks next to the mill race and the large wooden water wheel. The light was warm, bright and low- and it seemed to emanate from the trees on the opposite bank. It was a beautiful, magical, almost theatrical lighting display.

 Since then, I've been vacillating about whether I should make this painting into a print or simply have it framed up to sell as a one off. It's a lovely place which has been a great favourite for generations of residents and visitors to Rothbury.  But does this particular image, with these colours and these unusual lighting conditions, speak to people who have never seen it looking like that? I just can't decide! 


http://www.channel4.com/programmes/the-restoration-man/episode-guide

Lovely, loyal customers.

Today I had a visit to the gallery from a lovely couple, who I recognised as soon as they  entered. But it took me a few moments to place them in my mind and to realise that the reason I knew them was because they'd bought this triptych from me a couple of years ago. 

The assembled triptych

It's one of my own favourite views- a wide sweeping vista from Flotterton, which takes in the pattern of fields sloping down the hillside towards Rothbury on the left; the glittering lakes of Caistron, ploughed fields and distinctive peak of Simonside in the centre section; then the exuberant heather hills of the Simonside hills on the right. Regardless of the weather, season or time of day, I always stop to look at this grand view. 

I composed the three canvases so that together they made up the full scene- but also so that each individual canvas was a well balanced image in its own right- capable of being hung separately. 

Left section with manicured fields and Caistron lakes.

Middle section with Caistron lakes, ploughed fields and Simonside

Right section with heather clad hills and wild flowers

My customers enthusiastically told me how much they love the painting, which hangs in their dining room, where they can look at it every day and be transported back to Northumberland. We had a long chat of this and that, and eventually said our farewells.

I was just contemplating how lovely my customers are, and how it's a real privilege to be part of people's daily lives like this, when the gallery bell rang and to my surprise they came back in.  They just had to take a pair of my small oak framed paintings that had been hanging in the gallery window (including the one pictured) of daffodils to compliment the triptych. 

I hope these give them just as much pleasure!

Spring 2015

Spring is well and truly here and to celebrate this, Crown Studio Gallery has a bright new colourful window display crammed with artworks that reflect the season. 

Taking pride of place is my white paper sculpture peacock, guarding his Easter egg like a proud father. This sculpture was inspired by childhood visits to Barnard Castle's wonderful Bowes Museum,  in County Durham, where they have a silver automaton of a swan. I've enjoyed watching that exquisite bird, glide elegantly through its watery choreography for a lifetime. Perhaps I've spent a little TOO long watching it? But when I came to create my own version those hours of observation certainly helped. 

You can watch Mr Peacock shake his tail feathers here My Paper Sculpture Peacock shaking a tail feather! 

My paper sculpture  peacock in his natural habitat

Blooming Lovely- Acrylic on canvas by Imogen Skelley

Butterfly Arc Glass sculpture  by Gregg Anston-Race

Anodised jewellery printed with botanical images by Gillian Arnold

Glass dish by Gregg Anston-Race

 I've got a selection of vibrant floral paintings by up and coming painter Imogen Skelley, new fused glass by Gregg Anston-Race, anodised printed jewellery by Gillian Arnold plus resin and decoupage jewellery by Sarah Kelly. I've also got work by my regular artists... plus new pieces of my own acrylic landscapes.  

I hope you'll come and see us soon.

Hill Head Farm near Edlingham

In June I was commissioned to paint a view of Cheviot from Corby Crags- but including Hill Head Farm near Edlingham. This was to be a very special retirement present for the owner of the farm, who was retiring in July after years of being a very popular school secretary.

It's a massive, iconic view and there were a number of logistical problems about capturing a view at the right time of year to show the farmhouse, which is obscured by foliage on the trees in the garden during spring and summer. It was a difficult painting to create- not least because of the scale and complexity of the landscape, but also because it was commissioned and paid for by a committee- all of whom wanted the very best for the recipient, but had sightly differing views of exactly what that might be.

I was delighted with the final painting and believe it to be one of the best paintings I've ever done. But was it what the recipient wanted? I'm perfectly well aware that a painting spends a lifetime with its owners, whereas it's only with me for a short time. So while I need to feel I've created something I'm proud of, it really needs to speak directly and clearly to the owner.

Today the very happy recipient has been into the gallery to thank me and tell me just how much she loves it too. We both stood with tears in our eyes and agreed what a magnificent view it is... and yes....what a great painting!! 

It's made my day, my week, my month.... and possibly my year.