Lisa Hammond 2019 Ceramics Exhibition Invitation | GOLDMARK

So we've chosen the hottest day ever to unpack a very hot kiln. Well actually I can hardly believe it's three years ago, so much has happened in that time and the pots I've been making have been gradually stored underneath the floor, so I hadn't seen them for quite a long time either. That's good and we've had real trouble getting those out lately, the big ones, I've no idea why. I've got about five in the back of my car at the moment that I'm going to give to a friend to put in her garden. So it's quite hard when you chuck away half your kiln. It's exciting for me to look at all, you know, to see all these pots, the three years worth of work and the changes that have happened in those pots. We've got some new shapes and new glazes. I'm always fascinated, you know, moving on a little bit each time hopefully. I've got this dark line underneath which is where I've pulled through the the slip but it's just caught just right, looks like a blade of grass. Smash! Yeah, it's a big job actually sorting them all out and making sure that, I mean, because you have to check everyone's not cracked, everyone, you know, because like, you know, has somebody dropped the box in the meantime? I don't know. Make sure they're all cleaned up and then catalog them all and then describe them all. It's quite nice though when you get everything out. Actually, the next bit we've actually got to sit inside it to get them out so that's going to be lovely. That'll be lovely! Actually, at least the sun's gone in. Yeah, flowers. Yeah, nice. It's like, well, that's a lot of pots. That's cute too. Well, it's a sort of consolidation, isn't it, of everything you've been doing and, you know, I move on in my thinking with pots. Sometimes quite a lot. I get sort of hooked on things sometimes. Some of it at the moment was blue. I was quite hooked on blue for a bit and I'm actually now moving on to horse eye which has become a little bit of an obsession. Oh, horse eye! Ah, there you go. That's what I'm after. But I've used the end of a Hakami brush. When they get broken up a bit, you've got the twigs at the end of it and I use that and I've used that for quite a lot of things recently, well, in the last few years, but now I'm starting to do this horse eye thing. So, you know, I've got, I love horses. I've got a thing about horses anyway. And I suppose it's till I get it, till I've mastered it and then I move on to something else. So that's maybe my way of doing things, you know. I need to understand it and get what I feel is as well as I can get it and then move on. I mean, it might sound strange to you. I do know potters who keep good pots and have a good collection themselves. I don't, which may be saying something quite strange about me. I don't know. You know, I kind of, you know, I bring them up if you like and I get, as long as they don't go too soon and I've had a chance to look at them and observe them and understand them, then there's a sort of time when I'm ready to let them go. Okay, fingers crossed this is in one bit. Very nice. Yeah, I'm happy with that one. Nobody wants the ones that nobody else wants, you know, that I don't want actually. People want the ones I want, don't they? You know, people often ask me which is a good one. I don't like answering that actually, because it's got to be your personal choice. And it's quite strangely, sometimes I will really hold out and say, no, that's a good pot. It's a good pot and it doesn't sell for ages. And then you get the right person come along and they'll go, wow. And you go, yeah, why couldn't nobody else see that? You know, so I'll shake their hand. Thank you. That's right. It's a good pot.