William Plumptre has been making pots in the Anglo-Oriental style for over three decades and he has made a new body of work for his exhibition with The Gallery this November – Cordage. Read on below for a Q&A with William to learn more about his inspiration and working processes.
1. What inspires you to make your work?
I am constantly developing my work albeit in increments. The kiln is never a given and I am always finding change and attempting to achieve a certain pot.
2. Which artist or artwork do you admire?
Kawai Kanjiro. An exceptional Mingei potter.
Kawai Kanjiro (1890-1966) was a legendary potter, writer, artist, and key figure in the Mingei or folk art movement. The Kawai Kanjiro Memorial Museum, known as Kawai Kanjiro’s House, is testament to the way he lived his life: in pursuit of beauty and creativity, embodying joy found in all of life.
3. You have remained true to your style over the years. What draws you back to those forms and colour palette?
The process of inlay and clay is a perfect combination and I am drawn to the multitude of patterns that can be used. Wood ash glazes are variable and I enjoy the experimentation and testing that goes on.
4. What are the processes involved in designing one of your pieces?
The process of design is set by the time line of what thrown clay will do when water is added, this determines the final pieces. It is rare that I make a 'new' piece of work but more so that I develop what has gone before.
5. Do you have a favourite part of the making process?
I love throwing, it has always held a fascination for me and a rhythm that is hard to replace.
6. What happens if you make a mistake?
It depends at what stage I make a mistake. After the glaze firing it’s terminal but it depends whether it’s technical or artistic. Before either firings mistakes are scrapped, move on and start again, clay can be recycled to use again.
7. You designed your studio to suit your practice. Can you tell us more?
Based loosely on a Japanese workshop my own is a poor imitation but I like throwing on an open wheel. It makes me throw cleanly so both my wheels are open, it is how I was taught.
8. What is your most memorable experience or achievement throughout your career to date?
I had a lovely glaze from a Lake District slate, it was a strange feeling to melt a substance so old and noble but the result was a beautiful glaze that was hard to repeat.
9. Is there one that got away – a favourite piece you wish you had kept?
No, the process of firing wood ash glazes is such that results are rarely the same, similar but not exact so I am already mulling the next firing whilst unpacking another. This means that work moves on, I did this one that way so now I try another glaze, I am constantly in awe of ceramic glaze firings, that is why I continue to make new work.
Watch our short film below as William gathers his work from the kiln for his November 2022 exhibition Cordage.
