Scale @ Whichford pottery

SCALE @ WHICHFORD POTTERY

November 2024 - Warwickshire, UK

Day 1

Today marked the first day of the Scale workshop at Whichford Pottery, and it has already been an unforgettable experience. The workshop is being led by Adam Keeling, a highly respected figure in the world of ceramics. Adam brings over 20 years of expertise, having worked across both traditional and contemporary pottery techniques. Known for his meticulous craftsmanship and innovative approach, he’s the ideal guide for a workshop that’s all about pushing boundaries in pottery making.

Our day began with a fascinating tour of the Whichford Pottery facility, and I have to say, I was completely blown away. Far larger than I had imagined, the studio space felt almost like a world, it felt like stepping into the Tardis, with trapdoors and pottery studios stretching on and on, each one more intriguing than the last. One of the first things that struck me was the sheer scale of the operation. The studio houses some truly monumental pieces of equipment, none more impressive than the pug mill, which looked like a nuclear missle you might find on a submarine.

And of course, there were beautiful, beautifully crafted pots everywhere at various production stages. While Whichford is perhaps best known for its iconic English flowerpots, what sets it apart is the fact that it is the last traditional English pottery studio of its kind in the UK. This makes it a working pottery studio and a living museum of craftsmanship, preserving techniques and practices that have been passed down for generations. To become a master potter there, you must have done 12 years in that particular skill.

The scale of the operation, the dedication to tradition, and the quality of the work on display were all so inspiring. It’s clear that Whichford Pottery is not just creating functional pottery; it’s preserving a vital piece of Britain’s ceramic heritage while embracing innovation for the future.

After the tour, we got to work ourselves. Their clay was very different from what I’m used to at home—much more groggy, but with that comes a beautiful fluidity. It stretches much more easily (until a point, of course), allowing for some really interesting manipulation during throwing. The wheels were different too, as Adam isn’t the biggest fan of Shimpos for the scale of his work. Instead, the studio uses a different style of wheel that’s better suited to larger pieces, providing more stability and control. Weird at first though!

After a mesmerising demonstration, where Adam emphasised the importance of three pulls (a technique that helps build the structure and height of the pot), we then worked with the rib to get the shape just right. This was followed by a discussion on how approaches change when making multi-segment pieces. Adam explained how, when working on larger forms, it’s important not to throw three pulls and leave the clay in the respective places. Instead, you need to resist shaping the form before attaching it, as it’s the joining of the pieces that really bring the form to life.

Day 2

Today’s task was both exciting and nerve-wracking. We started by shaping a 5kg cylinder of clay into a 10.5-inch high form, which we would then attach to Adam’s base. The pressure was on—no one wanted to be the one to break the group pot or mess up the attachment - particularly on the top piece!

Adam demonstrated how to work with larger pieces of clay, focusing on creating a "donut" shape to build up layers while maintaining a strong structure. We also learned how to use a gas torch to dry the clay in stages, being careful to dry it evenly from the inside and outside. Adam stressed the importance of balancing drying and shaping—too fast, and the clay stiffens; too slow, and it could collapse.

Joining is an essential part of the process, and the order in which you use your tools, fingers, and water is key. Adam showed us that first, you should join the clay using the sides of your fingers. Then, use the ribs to shape — this is the moment to really define the form. If you want the clay to go in, push the clay inward and let your inside hand ever so slightly support; if you want the clay to go out, position your inside hand higher and push outward - follwing firmly with your outside hand. Once the clay is joined, wet the areas you wish to pull without wetting other parts. Adam explained a crucial tip: "Always move clay with your left hand inside, always control with your right hand on the outside."

Adam also spoke about considering shrinkage when joining pieces. The sections that have been dried with the gas have already shrunk, but the wet clay will shrink as it dries. So, it’s important to make sure your joins are seamless, or you risk a bulge during firing. That’s why it’s important not to overwork the clay — being efficient and precise is key. Adam reinforced that less is often more when working with clay — it’s about making fewer, but more deliberate movements.

At lunch, we discussed the decline of traditional pottery in the UK. With fewer potteries passing down skills and ceramics no longer a core part of curriculums, formal training is harder to find. I can relate, having struggled to find educational opportunities before setting up my own studio. Like many, I became largely self-taught.

I often feel a sense of failure in my approach to pottery, experimenting rather than following tradition. It can make me a destructive maker, willing to sacrifice a piece to learn. However, these few days with Adam have changed my practice, and I’m already seeing improvement.

On a brighter note, there is hope for the future of pottery in the UK. Initiatives like The Clay College in Stoke-on-Trent provide structured training for potters of all levels, preserving traditional skills. The Clayground Collective, a dynamic platform for potters, plays a crucial role in connecting artists, fostering learning, and promoting the value of craftsmanship. Through its community-driven approach, The Clayground Collective supports emerging talent, facilitates collaboration, and champions the diverse voices within the pottery world. Additionally, schemes like Adopt a Potter, which offer mentorship and studio space, are invaluable in nurturing the next generation of potters and helping them develop their craft.

However, it is worth noting the rise of art-focused ceramics in organizations like the Craft Potters Association (CPA), which likely includes more artists than traditional potters. While I likely fall on the artist side myself, I recognize that this shift risks diluting the emphasis on craftsmanship and mastery that traditional potters value. I believe the growing inclusivity of ceramics is ultimately a positive thing - we all agreed on that. That said, I do appreciate that pottery is about years of dedicated practice to perfect a skill, a tradition that could be overshadowed by artists working in ceramics without the same technical training (even if they may be searching for it). Can the two worlds coexist? Or, better yet, can there be more pathways into traditional pottery in the UK?

Yet, it’s not all doom and gloom. Institutions like Hauser & Wirth, with their 'Make' gallery, showcase delineations where traditional craft is exhibited alongside contemporary art, bridging the gap between the two worlds. I am sure there are many more that I just don’t know about. With the support of programs like The Clay College, The Clay Collective, and Adopt a Potter, there’s hope for the future of ceramics in the UK — one that honors both the craft and artistic sides of the medium.

Day 3
The day started with a bit of a setback as my car battery died in the cold, leaving me stranded for a while. Thankfully, The Red Lion where I was staying in Long Compton was incredibly kind—they even put a call out to the village for help. Eventually, the AA came through, and after a delay, I made it to the pottery workshop.

I missed the slip demonstration using white slips and oxides, but I was thrilled to dive into making my own pot. Initially, I’d hoped to create a moon jar, but inspired by Adam’s pottery and the beautiful red clay, I decided on a large garden pot instead. I ended up throwing the largest amount of clay I’ve ever handled—I actually don’t know how much it was, maybe 15kgs! Centering the clay on the wheel and re-centering joined pots were tough skills to master, but a huge breakthrough I had today was when Adam noticed why I wasn’t shifting much clay and was carving the clay out from the inside. The distance between my two hands for larger pieces of clay was FAR too close together, and I was using my fingertips on the inside (which is nweak and just carves the clay out). To get the S-shape where the clay can really bend and move up, the inside hand was 4/5 revolutions ahead, which could be as much as an inch higher! Then, when the 4 fingers were stuck together like a paddle on the inside, hooking and pulling the clay up, the edge of the right hand on the outside was seriously driving the clay in. Once the momentum started going up, you could ease off and just glide up. At some point, your outside hand twists in and then you push in hard with the base of your palm, reaching to compress the rim at the end of the pull with all 4 fingers. I think it’s this certain clay body that has been so carefully formulated to allow that bend and stretch on the pieces; I’m unsure my buff stoneware at home would take it! Still, this was a game-changer for me, and I was getting my big pots up in 3 pulls!

The studio atmosphere was inspiring; AJ’s massive, meticulously crafted pot and other beautiful vases appearing around us were a joy to see. I liked the way Adam had brought us together over the few days doing demos and challenges together, before setting us off on our projects and he could help accordingly. A visit to the shop at the pottery have me all the inspiration I needed! I was really drawn to the warmth of the red clay, and loved the black slip over it. The manganese and red oxide in the slip added a glaze-like depth, letting the warmth of the clay shine through. The slip marks were so free and fluid - this is something I really want to get better on. As these wouldn’t havea glaze fire, I decided to go more decorative in the form by scalloping the rim and trying to punctate the pot with coils where the clay would change direction. Something different for me for sure, but really excited to see how these come out.

As the day wound down, we had a heartwarming discussion on what makes a good teacher. Adam, whether he realizes it or not, was fantastic—he shared his knowledge in a way that felt truly empowering. His knowledge of the material is unparalled, so even just by watching him work you learnt stuff. There were lots of top tips on the tool front too, who knew forks were so good for scoring! But, I am afraid Adam I cannot get on board with the cut up tape measure - I was confused most the time!

I’m already looking forward to coming back in May with my mum for the rhythm workshop. These past few days have given me skills and inspiration I’ll carry forward. Thank you Adam, and my fellow potters AJ, Jane, Jane, Helen, Laura for a wonderful experience.

My Practical Key Takeaways

With experiences like this, it’s often the little things that stick with me the most. As I see no better way to document what I’m learning, I’m going to start a rolling list of my biggest takeaways so far:

Really centre the base of the clay, NOT the top when centring larger pieces. The base needs to be anchored first for the rest of the piece to stay steady.
A fun technique to 'extrude' handles off the wheel—a unique way of adding handles with ease.
Let the stronger parts of your hands support the weaker. For example, when opening up the clay, use both hands. I've learned that if you push in with your left hand at the top, it can create suction that pulls your right hand inward, which can distort the clay.
Everything is about moving IN, not up. The clay will move upwards naturally, especially during the ‘roll in’ just after opening up and before the first pull. This was a new insight for me. Use the edge of your left hand and the twist in, so you are pushing in with your central palm.
"The faster you go, the less your hands will do." Don’t rush the process. (Although I admit I seem to be going a bit too slowly myself—it’s tricky adjusting to a new wheel!)
The 3-pull technique: the foundation of building strong, stable walls on a thrown piece.
When pulling larger pieces, use your outside hand and tuck your thumb into the first knuckle of your forefinger. It gives more strength and helps reduce clay from coming off unevenly.
When making pots in sections, it’s not so much about perfect centring or getting the shape right. What’s key is having even walls of rather thick clay so you can continue to work and refine them later.
Don’t worry about wobbles—and don’t let them distract you. The goal is the process, not perfection.
When blasting the pot, make sure to get the inside firmer before continuing.
The rim should have no corners where you will be attaching, as these can dry too quickly.
Celebrating uniqueness in pots: Adam shared this wonderful thought: “For me, the nicest pots are the ones where you can read the process. If you want perfection, slip cast.” This really resonated with me.
Remember shrinkage when drying clay.
When you push in, really push in and centre your entire body so you do not move.
4 fingers together on the inside, like a paddle, 1 inch higher/4 revolutions ahead. edge of outside hand pushing in.
When joining pots (such as multi-part pieces), follow this process:
1. Join with your fingers.
2. Use the ribs to lift and shape from the inside, while your outside hand controls the centering.
3. ONLY now add water—avoid getting it on the dried bits else it could sag and begin to slump.