Margaret Frith

As a young art student at Bolton College of Art I was eager to work with clay. The enthusiasm and dedication of the pottery lecturer there, L.F. Matthews, gave me an insight into 'the craft of the potter' and set me on a course of learning, research and experiment from which I have never
wanted to deviate.  Stoke-on-Trent School of Art under Derek Emms introduced me to working with reduction fired stoneware of the Eastern tradition. At this time, 1963, I met David and together we started to
make plans to set up a workshop in North Wales. We settled with an old chapel and outbuildings in Denbigh and with youth, energy and great enthusiasm we worked tirelessly to establish a workshop using anything we could beg, borrow or acquire.
The early years of domestic production throwing were invaluable and I look back with great respect to the struggles that we overcame and the insight that was gained into the nature of clays, glazes and form. As our two boys Daniel and Gregor grew up I was able to develop my personal work more and explore my deep attachment to reduction porcelain. Over the last few years much energy and experimentation has gone into the development of my own porcelain body with glazes to fit this low expansion body. The qualities of translucency and lightness sought, demand that it is potted quite finely and it takes time, care and patience. It fractures easily and needs skill in handling.
The smoothness of the porcelain body makes it ideal for carving, which I do particularly on open bowls and jars. I draw beforehand - but I like to work directly onto the clay without copying as I achieve a greater spontaneity and flow. Every imperfection shows on a pale blue celadon carved piece and the losses can be frustratingly high.  For some time I have been working with copper red glazes. They have an elusive appeal and require careful control during the reduction firing, as they tend to burn out easily.  Used in combination with other heavy iron glazes, you can achieve deep shades of purples, oranges and reds all intermingled.
Working in Japan was an inspiration and a total insight into attitudes so diverse from Western thinking. An extra dimension to my work has been the introduction of wood firing with the delight of unglazed ached surfaces. I now combine celadon glazed areas with rust colored matt surfaces
and freely scribed brushwork. I love the freedom of this style. There is something in my nature that wants to unite the tightness of porcelain with a total random and carefree attitude. I always feel a sort of dichotomy within myself.
Working with clay never ceases to excite and now after forty years as a potter I still feel just at the beginning of a journey with much to explore. A piece of soft malleable clay, nurtured through all its processes, carefully placed in the kiln and then put to the savagery of the fire, never ceases to
amaze; a wonderful transformation into a structure, which can last for thousands of years. It is said that ‘originality is mere judicious plagiarism’ and I gratefully respect this heritage and hope that my personal spirituality will shine through!