From a Distance

The artist and the studio

Welcome back to From a Distance, our online Viewing Room showcasing our artists and their studio practice.

Through a series of interviews and discussions, existing and newly-commissioned photography and film, we continue to explore the artists’ working environments and inspirations, whilst hearing how they have adapted to the current climate.

Andrew Wicks – In Conversation

Bath, UK

Can you tell us a little about your studio ?

For over ten years I have been creating my pottery in a small rural studio five miles outside the city of Bath. My studio building was originally a cowshed within a dairy farm, but is now a family run smallholding with a livery and rented studio outbuildings, so I am surrounded by fields, trees and horses. The Westbury White Horse can be seen in the distance; working in the countryside can be quite idyllic. To inspire new work I have a large pin board display of constantly changing images and photos taken of museum artifacts, details from nature, old illustrations, still life photography and seed pods. I also have some display shelves with experimental pieces to refer to so I can see what works and what hasn’t been so successful.

Can you describe your earliest experience of making things?

I have a lovely vivid memory of being five and at a pottery class with my mum in Zimbabwe, where I was born and lived until I was six. It was a warm sunny day with the windows open and Boney M. on the radio ! I made a lurid green pig whose legs unfortunately all fell off in the final firing.

Still Life of Ten Gourd Vases

Please explain your making process, how it relates to the history of your field and your favourite part of the process.

The process of creating starts in my sketchbooks. From my drawings I have an idea of the type and size of piece I intend to make. Ideas also come to me just before going to sleep at night when I am envisaging what I will be making the next day. Sometimes these carefully planned ideas are a success, but often the clay will have its own ideas and I end up with something quite different.

I always learn something new when throwing pots. This aspect is something I really enjoy and relates to my physical and mental balance; it can be almost meditative. The process of creating in clay has endless possibilities, which is simultaneously exciting and daunting.

Over a period of a few days I alternate between drying and carving the pots. When I am happy with the basic form I commence the process of drawing the lines of pattern on the pot with pencil, and rough carving to get the deeper ridges. Again the pot is wrapped and left to dry out overnight, or for a few days, depending on the moisture in the air. Over the next few days the surface detail is refined using finer hand tools. The final stage of carving is my favourite as the clay has a great consistency, similar to that of cheddar cheese, so I find it very satisfying to carve the final tiny horizontal gouges. The pots are then left to dry slowly which can take over a week or thereabouts. Once fully dried they are bisque fired to 1,000°C. Next I polish the shape with diamond pads to refine the profile and edges. The pots are then glazed and fired to 1,250°C.

I love the long and very varied history of ceramics and how it reflects daily life, high and low in so many cultures. My forms often reference the amazing fine historical porcelain from Europe, China and Japan, but I always aim to give my contemporary voice to them.

What part of your making process continues to surprise you ?

When opening the kiln after a final high temperature firing (1,250°C) the work is always so much smaller than expected due to the 17% shrinkage rate of porcelain. I have never become used to this.

Who or what inspires you ?

Visits to the great museums around the world are always a huge inspiration, whether it is to view ceramics, textiles, metalwork, sculpture or paintings. The biggest inspiration of course is nature and the incredible structures visible when closely observed.

Meandering Vessel alongside a sketch and painting made as a part of Andrew Wicks’ process — *Meandering Vessel* alongside a sketch and painting made as a part of Andrew Wicks’ process

Vermillion Ombre Garniture of Nine Vases

What can we expect from you next ?

Every few years I revisit colour and now, more than ever, I feel we all need an extra burst of colour in our lives. Colour is incredibly powerful and transformative when used with forms and always such an enjoyable challenge.

How have you adapted to working under the challenging conditions of this year ?

This past year has, of course, been such a strange time for everyone. My working practices and rhythms have been greatly interrupted by the general sense of unease, and also the necessary home schooling required for our seven year old daughter during lockdown. More than ever, I am questioning the quality and standard of what I make in light of environmental and resource concerns. If the work is not good enough, even after many, many days invested in the piece, I will smash it and recycle the unfired clay.

I have also had a thorough clear out of my studio and I am sure this will also help me focus on new ideas in the coming year.