It is always restful but exciting to observe an artist at work, and Ann demonstrated her method of teapot making - note the handle of willow pieces, her bowl sets, her cups in addition to some of her sculptural forms. On an unfamiliar wheel (a Venco) and with unfamiliar clay (Walkers SWP) she took a while to adjust to her new set up and there was no shortage of helpers who share the SODA studio space to find whatever was needed. Almost everyone I know has an older model Venco or a Shimpo wheel. Ann doesn't need a car in Copenhagen, but cycles around instead, instead, and, as all of her work starts on a wheel, she invested in, as she put it, the "Rolls Royce" of potter's wheels made in Denmark and has never regretted it. She is very body aware and careful not to incur injuries from inappropriate posture etc. especially as it impacts her ability to make a living. As a potter held back by long term elbow damage, it seems to me this message can't be stressed enough.
How nice it is to look at just thrown porclelain, the cool off-white smooth surfaces just beg to be stroked. I was impressed with how few tools Ann needed, mainly just a simple small rectangular metal rib for cleaning up the outer surfaces, the throwing lines and spirals are left on her interiors, and the rib's corner cuts in and cleans up under the foot of the work. She trained as a production thrower then later as a ceramic designer and it shows. Her designs are very spare and elegant, simple and clean. She explained that many Scandinavian ceramists get their work produced in slipcasting factories in China and that the old formal ways of training in ceramics are petering out. Sounds familiar, just like everywhere else!
I considered how many handmade pots are in use in my home, and how much Chinese produced stuff we own. I was glad to conclude it was about half and half. Irish people tend to buy wedding presents that would set up a couple in their kitchen and dining room, especially the formal dining room. You'd get Waterford or Galway Crystal and a good China dinner service, in my case Wedgwood. You might score some lovely Shanagarry Pottery or Jerpoint Glassware, which, because of their value, just sit in a china cabinet for 'best' use. Henry and I decided to use our handmade stuff for day to day and it makes the day nicer to sip your soda water from a mouthblown fat sensous beaker. I've just discovered Shanagarry Pottery has closed it's doors, another gem bites the dust.
I serve up my spuds in a Richard Batterham faceted bowl, salad in Simon Pearce bowls and coffee in Mary Wandrausch cups, my own salad bowl and the macadamia nuts from a friends tree sit in a beautiful turned wooden bowl my own son Emmet made for me. It is a special moment when someone lovely like Em hands over his work and says 'I made this for you'. PURE magic.
Now, like my mate Anna Chicos, (and someday soon I'll feature her work here), I CRAVE one of Ann's cups from her collaboration with Paul Scott. A winter or summer cup, with the platinum or gold rim. I may have to sell a child first though : >]
At the Ann Linneman SODA The lunch was big tasty gourmet pies and salads, on handmade plates and bowls and that salad dressing was to die for. Later, we were invited to a slideshow and curry dinner and what a range of dishes! Pippin Drysdale with whom Ann was staying joined us, and many of the attendees partners turned up. At one point I thought Fleur's youngest rogue Harry, was about to knock over a large wood fired Stewart Scambler piece.
Pippin work here and Stewart's website here http://www.pippindrysdale.com/
and http://www.ceramicartswa.asn.au/membersgallery/stewartscambler/index.php and http://sidestoke.com/Scambler/index.html
I live in East Fremantle, across the Swan River five minutes drive from Fleur in North Freo. She teased me later that night that I should stay later for more wine and walk home rather than drive. If I'd stayed later I wouldn't have been able to walk if I'd followed Fleur's suggestion, so any left over vino will have to go into her next boef bourgignon.
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