DEMONSTRATION BY STEVE WOODHEAD
reviewed by Rik Midgley

After much manic activity by Jenny Morgan, Steve Woodhead began is day of potters entertainment at Snowdon Mill. Originally from Scarborough, he emigrated to Rugby, claiming no disloyalty to his Yorkshire roots.

As a biology graduate he began work in the world of computers. Potting began as evening classes in 1980, and he was soon to set up his first workshop.... in his living room. With no formal ceramic education, Steve's inspiration was from the many lectures and demonstrations he attended. He was fascinated by the vast spectrum of workers - from the formal Derek Emms and David Frith to the 'looser' Phil Rogers and Ruthanne - and was searching for a place where he could fit in.

Five years of attending workshops wit David Frith planted him firmly at a very specific point along this line, since when he has been manoeuvring at ever increasing rates towards his own tangent. However he still has an appreciation for many of the qualities of David's pots, such as the good sheen, tight glaze fit, depth of glaze, and still uses the same clay (Similar to the Valentines Earthstone, he mixes up 75% Hyplas 71, 24% porcelain, with 1% cornish stone). His 'De-Frithing' period began with the decoration of coloured flowers, using on-glaze stains, on classically shaped vases and plates. He was always acutely aware of the perception of his pots - stressing the changes in curvature and the rims, the apparent lift a handle or lug could add - and incorporated these ideas into his decoration.

After 10 years of potting, he moved to a darker clay, and began more mellow decorations using bamboo images. This was followed by an ash glaze phase, which although producing some satisfying pots, was not a hot seller. With feedback from the galleries, in 1995, he began work with coloured ceramics and more individual forms.

This new work includes 'polo' and sculptural teapots, slim necky jugs, clocks and platters, coloured with copper reds, a cobalt ash as well as his old stains. All the pots are tightly finished and have shapy circular handles and embellishments which battle off being described as over the top. There is much variety in his forms, each with its own particular attachment combinations. With each batch of a hand full of pots which he creates, he always adds a rogue, on which he can take an idea further or experiment in some new way, and thus keep his work alive. This is his compromise between certainty and risk taking - 'having your cake, eating it and staying slim'. If a pot doesn't please him on coming out of the kiln he leaves it a few days until he can see it without expectations; sometimes these end up as the pots he would like to be buried with.

His kilns - he bisques to 1000 C in a 3.5 sq ft electric kiln, and reduces in a Savit kiln, which he has vertically extended 3.5 bricks, to1275 C on the pyrometer, with no cones! He has, as ever, only 4 glazes, which are apparently highly tolerant to variation in firing temperature. He does however ball mill the glaze for his relatively cool bottom shelf to quicken the melt, and also soaks for 1.5 hours at top temperature, purely to even the heat throughout the kiln, although this tends to be somewhat of a temperature meander....

He explained his philosophy on selling; calling the full gallery price 100%, he sells direct at 66% and to the galleries at 50%. The 100% figure was calculated for individual pots on a relative size and liking scale, with 1-2 pieces at higher prices, with labels explaining that they are considered exemplary.
Before the wonderful NWP buffet, we were treated to a pot quiz, in which I think the audience identified over 50% of the makers, but were all caught out by Bev's 1969 watering can.

In the afternoon we were treated to the demonstration of the throwing and assembling of a teapot and a jug. A polo form was thrown by first throwing a dough-nut shape, which was then split, so as to make 2 concentric rings which formed the inner and outer walls. The inner was then pulled up and bent over to drop outwards so as to complete the form. After dissecting the loop, there was talk of using the parts for handles and appendages - apparently in Yorkshire, nothing is wasted.

A tall thin piece was next. We were shown the Takashi's trick of bringing a weight of clay upwards: The half thrown form was under-scored with a finger. Next, the wheel head was cleaned, which is mental preparation for getting the knuckles stuck in to the groove thus made, for the upward pull. To help prevent wobble in a tall pot, the nose, if sufficiently large, may apparently be used, but unfortunately we were not treated to this display.

The handles were generally thrown loops and turned on both sides, or were pulled and then elongated by slapping on the table - which was the only piece which escaped his fanatic eye for finished perfection. The pieces were assembled with some thoughtful feedback from the audience to create a unique form. Every join was carefully pushed and compressed to ward off cracks. The demonstration was completed with a demonstration of how a pot may be re-centred if it has a bite taken from its rim, a technique involving much collaring in and pressing down of the rim.

Cheers Steve for a pleasant, entertaining, and informative day.