âWhen I came to Spode didnât know what to expect
liked the look of this place, the workshop
artistâs touch everywhere
I wanted this experienceâ Justina.
The British Ceramics Biennial is this year sprawling across the Potteries Museum & Art Gallery, Airspace Gallery, Spode, and here at The Goods Yard, a long-derelict building which used to be a warehouse between the canal (first dug in 1777) and the railway (1849). It is in partnership with Staffordshire University which, though a Keele man myself, I acknowledge to be be second to none in its ceramics work.
Here I found (1) plates by Ho Lai in bone china, a style riffing off (we might now call it âapproriatingâ traditional Chinese porcelain, developed in Europe by Potteries man Josiah Wedgwood (after going to the Goods Yard I went to hear Tristram Hunt give a lecture on Wedgwood at the fine Emma Bridgewater factory, opened in 1985 in the teeth of scoffing from armchair experts who insisted it would never work, and have been proven wrong).
Ho Lai, who comes from Hong Kong, is now in exile after finding that her home is no better off than it was under British rule and has exchanged one empire for another.
On a related note (2) Alison Cooke on British history and prehistory, thinking of our forefathers and foremothers who crossed what was once a land bridge (âDoggerlandâ) between what is now Europe and what is now the European continent, and what our heirs will face given climate change and coastal erosion.
Next came (3) Abi Wills, working in terracotta and porcelain, using clay because it is âan alchemistâs materialâ (one of the pioneers of European porcelain actually was an alchemist, Johann Friedrich Böttger, who obviously failed to turn base metals into gold but ending up helping in a work much more worthwhile than that during his tinkering!)
Gerald Mak (4), who like Ho Lai is a Hong Konger now in London, was inspired by his traditions and by the city of Jingdezhen, a city Iâve been facinated by since I heard about it at the museum years ago; like Stoke-on-Trent, it is an ancient ceramic city which is now home to modern factories. Unlike Mak I have not been there, but I can admire the art inspired by the city.
Cicely Peers (5) is using the new technique of 3D printing and the ancient craft of slip casting to push forward the boundaries of pottery. Nicole Waefler (6) does the same in a rococo style. You can actually see tiny âflawsâ from the printing process but this only adds to the art in my opinion (I do also have a house full of âsecondsâ from factories in the city, a widely accepted practice here!)
Oriel Zinaburg (7), an architecht whose love of materials brought him into ceramic art, has a more abstract style, as part of the Fresh 2021 collaboration with Staffordshire University. This playfulness and seeing where the material takes one also lies behind Rosie Harmanâs exploration (8); she developed from painting into a 3D artist.
Becky Houghton (9) likewise makes sculptures and âshrinesâ from clay just for the sheer pleasure of playing with âmudâ, which I discovered as a child in one of the many âmarl holesâ where I live, simply wetting the clay and drying it out, though I have not then or now made a work of art like this.
Lastly (actually not lastly; there are many more shoots to come in this series, though this shoot is now at an end), Dorcas Casey (10) shows her interest in âdreams, stories, intuition and memoryâ with a remarkable display based on leeches!
Justina and other have told their stories to Anjum Malik and they have been written on plates, to go alongside the works of art which are also speaking their truth.
I have lived here my whole life and had never heard of the Goods Yard until last month; I have also never been to Valentine Clays,where the exhibition also runs, but will do so this weekend.
The long-term future of the Goods Yard is still in some doubt so I would urge everyone to come to the exhibition while itâs still on (until 17 October 2021 and then itâs off for two years!) to show everyone what Justina and her friends already know, that art and industry, âuse and ornamentâ are the twin turbos that will heal the wounds caused by the first deindustrialisation.
âsense of peaceful serene environment
just be free of all problems for a while
a healthy outlet for meâ