Unexpected Impact. The legacy of ‘The Language of Clay’, written by Alex McErlain.

To speak a foreign language

in your own tongue.

No, not just one 

but a number of languages.

Korean. Old English.

Mineral. Manual.

The different and difficult

dialects of fire.

Opening lines from ‘Hidden Syntax’ by Christopher Reid

Christopher Reid’s poem ‘Hidden Syntax’, composed in 1997, was written to accompany an exhibition of work by the potter Jim Malone. Reid highlighted the complexity of understanding the many aspects of the potter’s concerns who worked in what then was known as the ‘Anglo Oriental’ style. He tried to show the audience what the potter was grappling with to find his own ‘voice’ with which to express himself. The series of exhibitions formed under the banner heading ‘The Language of Clay’ also took on the challenge of helping an audience develop a deeper understanding of the complexities of contemporary ceramics, this time in the 21st century.

The exhibition curator, Ceri Jones, must at the outset have pondered what impact her idea might have on the prospective audience but I wonder if even she foresaw the impact it would have on all the participants including makers, writers, gallerists and filmmakers. The notion of the exhibition series was a good one, bringing forth a broad range of possibilities in a number of linked shows. However the challenge was considerable and many people had to be brought together to work collectively in order to achieve a demonstrable success.

The artists selected were diverse in their practice, ensuring strong material for interpreting the overarching theme of the language of clay.  The chosen artists were also at differing stages in their respective careers which brought another dynamic as younger artists viewed the prospect of measuring up to established ones and probably vice versa too. When I visited Micki Schloessingk she was relishing the opportunity to explore some new ideas that had been in development and challenging herself to make a coherent show that would feature the new with the established. It was also a moment to remind the broader ceramic community that she was continuing to develop as any really good artist does. At the other end of the spectrum, emerging artist Kate Haywood was facing a challenge (not without trepidation) of developing a large body of work for her first major solo exhibition, a show that she was aware might eventually have a significant impact on her career, (it did). Each artist in turn rose to the occasion and produced an exceptional group of work which in itself showed the benefit of the collective challenge inherent in the curator’s plan.

Perhaps the most important part of the project was the ability to communicate about the ‘language of clay’ to an audience. Audience development was noticeable for this series as the current thirst for subject specific knowledge about ceramics increases. The experience of building an understanding of contemporary ceramic practice was enhanced by the diverse approaches to interpretation undertaken alongside the exhibitions. Each exhibition contained an interpretive catalogue essay where several writers brought their own distinctive viewpoints to the exhibition theme as well as the artworks and subsequently created a series of differing ways of understanding the language of clay. Films added another dimension and it was noticeable how there had been an interaction between filmmaker and artist to capture the essence of the subjects working situation. The films were a key part of the exhibition experience providing context for the visitor and a legacy for the project. Collectively all this input added up to a fascinating visitor experience and when the artist attended to contribute to the conversations a dialogue easily developed which is a sure sign of everyone doing something right.

Curatorially the series offered not only stability in programming but an opportunity to develop exhibition design creatively to make each display adaptable to the differing venues. Artists often commented how different their show appeared in each new venue. It’s always a challenge to adapt displays to the physicality of a space but having a series of shows over an extended period encouraged invention and flair from the gallerists. In addition, having a thoughtful and meaningful series of connected exhibitions enabled audience building and outreach work, increasing connections with the subject from across the region and generating sales both during the exhibition and beyond in the gallery shops.

It is my firm belief that this innovative series of exhibitions has collectively had an impact far beyond what individuals may have perceived when agreeing to engage with the project. Cross fertilisation of ideas amongst a disparate group of individuals was enhanced as the project progressed and ideas were tested and responded to. Analysing the impact of this inspired series of exhibitions and noting the myriad learning outcomes, surely begs the question why not put into practice some of the wealth of learning by exploring the language of thread/wood/glass/metal in future exhibitions.

- Alex McErlain.  March 2020